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CHERUBINI* LUIGI*
A COURSE OF COUNTERPOINT
AND FUGUE
15. OU
VOL.1
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A COURSE
^

OF

COUNTERPOINT
AND

FUGUE,
L.

CHERUBINI,

MEMBER OF THE FRENCH INSTITUTE,

DIRECTOR OF THE CONSERVATORIO OF MUSIC IN PARIS,
OFFICER OF THE REGION OF HONOUR, ETC.
TRANSLATED BY

J.

A.

HAMILTON.

AUTHOR OF THE MVSICAL CATECHISMS, GRAMMAR,

DICTIONARY,

ETC. ETC.

SECOND EDITION.

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PUBLISHED UNDER THE IMMEDIATE PATRONAGE OF

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HIS

SUSSEX,

ROYAL HIGHNESS

THE DUKE OF CAMBRIDGE,

THE RT. HON. THE COUNTESS OF FALMOUTH,
THE RT. HON. THE EARL OF CAWDOR,
THE RT. HON. LORD BURGHERSH,
LIEUT. GEN. SIR HERBERT TAYLOR, G.C.H.
THE HON. LIEUT. GEN. CAPEL, C.B.
THE HON. B. C. BERTIE,
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MAJOR-GENERAL LOYD,
COLONEL OLLIVER,
AND

THE DIRECTORS OF THE ROYAL ACADEMY

OF MUSIC.

COMMITTEE OF MANAGEMENT

THE ROYAL ACADEMY OF MUSIC.

CHAIRMAN,

THE RIGHT HONORABLE LORD BURGHERSH.

THE EARL OF CLARENDON.

THE EARL OF FIFE.
LORD SALTOUN.
THE RIGHT HON. SIR GEORGE WARRENDER, BART.
THE RIGHT HON. SIR GORE OUSELEY, BART.
SIR GEORGE CLERK, BART.
SIR WILLIAM CURTIS, BART.
THE HON. F. G. HOWARD.
THE HON. A. MACDONALD,
LIEUTENANT-GEN. SIR HERBERT TAYLOR, BART. G.C.H.
MAJOR-GENERAL SIR ANDREW BARNARD, K.C.B.
MAJOR-GENERAL SIR J. CAMPBELL.
PRINCIPAL,

MR. CIPRIANI POTTER.

GENERAL SUPERINTENDENT,

THE REV.

F.

HAMILTON,

A.M.

SUBSCRIBERS.

Adams, Mr. Professor of Music, John Street, Fitzroy

Square, London
Adams, Rev. Dr. Sidney College, Cambridge
Aldridge, Mr. Music Seller, 264, Regent Street
Allsops, Messrs, Music-sellers, Nottingham
Amott, Mr. Organist of the Cathedral at Gloucester

Andrews, Mr. Organist, Bridgewater

Apsley, Mr..x\lexander, Ashlbrd
Artaria,

Mr. H. Bond Street

Ashton, Mr. C. Lay Clerk

Aspull, Mr.

W.

Pianist,

at the Cathedral, Lincoln

76,

Charlotte Street, Fitzroy

Square
Atkins, Mr. R. A. Organist of the Cathedral,
Atkinson, Miss, Organist, Grimsby
Aubrey, Mr. G. E. Liverpool
Ayrton, Mr. Professor of Music, Chester

St.

Asaph

B
Bagnall, Mr. Organist and Professor of Music, NewCastle on Tyne
Baker, Mr. Organist and Professor of Music, Harmood
Street,

Hampstead Road

Balls and Son, Messrs. Oxford Street

Banner, Mr. Organist of St. Paul's, Ball's Pond,Islington
Barnes, Mr. G. Organist, Leominster

Barnet, Mr. R., R. A. M. London

Barraclough, Mr George, Senate-house Hill, Cambridge
Basket, Mr. Professor of Music, Kennington Cross
Bates, Mr. Organist of Woodford and Leyton, Essex

Mr. Musicseller, Ludgate Hill

W. Hicks, Esq. Oakley Hall, Hants.
Beale, Mr. T. W. Professor of Music, Sherborne, Wilts
Beardmore, Mr. Jesus College, Cambridge
Benedict, Mr. J. Clifford Street, London
Benson, Mr. George, Professor of Music, Armagh

Bates,

Beach,

SUBSCRIBERS.

VUl

Beale, Mr. Manchester

Beatley, Mr. Professor of Music, Wisbeach

Mr. Royal Exchange, London

Hon. B. C. Earl of Abingdon's, Wytham Abbey,
Oxford
Bianchi, Mr. Professor of Music, Ipswich
Biden, Mr. James, Kingston
Binfield, Mr. W. Professor of Music, Cheltenham
Binfield, Mr. Bilson, Reading
Bishop, Mr. J. Professor of Music, Cheltenham
Bishop, Mr. C. 7, Millbank Street, Wesminster
Blackbourn, Mr. John, Professor of Music, Clapham
Blackburn, Mr. W. H. Musicseller, Bradford
Blackshaw, Mr. H. Professor of Music, Broomfield
Betts,

Bertie,

Place, Deptford
Blatch, Miss H. 34, Charlotte Street, London
Blockley, Mr. Professor of Music, London
Blogg, Miss, 10, Clarence Place, York Road
Blount, Mr. F. S. Organist, Wimbourne Minster

Mus. Doc. Oxon.

Bond, Mr. Professor of Music, Brighton
Bond, Mrs. H. No. 8, Rhadegund Buildings, Cambridge
Bond, Mr. John Henry, Professor of Music, Knaresborongh
Bonner, Mr. H. W. 16, Bridge Row, Pimlico
Boosey and Co. Messrs. London
Booth, Mr. Edward, Professor of Music, Leeds
Boyle, Mr. John T. Professor of Music, 189, Bowary,
New York. 2 Copies
Boys, Mr. Henry, Organist of St. John the Evangelist's,
Westminster
Bowley, Mr. J. S. Royal Academy of Music
Brahara, Mr. J. Professor of Music, Southampton Street,
Covent Garden
Brandau, Mr. F. W. Professor of Music and Singing,
103, Great Portland Street
Bridgeman, Mr. Organist of the Great Church, Hertford
Bridgeman, Mrs. Professor of the Pianoforte, 25,
Great Quebec Street, Montague Square
Broadhurst, Mr. W. Professor of Singing, Regent
Place, West, Regent Square
Blyth, B.

Brookes, Mr.

W.

Professor,

32,

Henrietta

Street,

Covent Garden
Brookes, T. Esq, Upper Terrace, Hampstead
Brown, Mr. H. Organist, Trinity College, Cam1)ridge
Brown, Mr. H. Professor of Music, Sleaford
Brown, Mr. Anthony, 28, High Street, Holborn, Professor of the Guitar

SUBSCRIBERS.

ix

Browne, Mr. R. Organist, Lowestoft

Browne, Miss Willis, Fountain Buildings, Bath
Browne, William, Mr. Bath
Browne, Mr. W. H. Music-seller, Glasgow
Browne, Mrs. James, Music-seller, Glasgow
Bryan, Mr. S, Professor of Music, Bedford Street,
Manchester
Bucher, Signor T. Edinburgh
Buchwald, Miss, Brighton and London
Buck, Mr. Organist of the Cathedral at Norwich
Burgess, Mr. John, Organist, Hythe
Burgmuller, F. de Paris

C
Calkin, Mr. Pall-mall

Camidge, Mus. Doc. York

Caney, Miss J. H. 7, Cirencester Place, Fitzroy Sq.
Capel, Hon. Lieut-General, C.B.
Capel, J. D. Esq. the Bank
Capel, J. D. Esq. Jun. Canal Ironworks, Limehouse
Carpenter, Miss, Professor of Music, Bristol
Card, Mr. W. Professor of the Flute, Quadrant, London
Cart, Mr. R. 9, Panton Street, Haymarket
Carter, Mr. 16, Great Titchfield Street, Cavendisli Sq.
Organist, Portman Chapel, Baker Street
C. J. Mr.
Cawfield, Mr. J. P. Professor of Music, Dublin
Cecil, Miss, Professor of Music, 5, Little James Street,

Bedford Row
Chambers, Mr. W. H. Professor of Music, and Organist
of the Royal Hospital, Woolwich
Chambers, Mr. Edmund, Great Pulteney Street, London
Champion, Mr. W. C. Organist of Walcot Church, Bath
Chantry, Mr. Organist, Macclesfield
Chapman, Mr. E. 65, Gibson Square, Islington
Chapman, Mr. John, Organist of Handsworth and St.
Thomas's, Birmingham
Chappell, Mr. 50, New Bond Street, London
Chatterton, Mr. J. Balsir, Professor of Music, 32, Manchester Street, Manchester Square

Mr. Frederick, Professor of the Harp, 33,

Osnaburgh Street, Regent's Park
Child, Mr. W. 17, Stafford Place, Pimlico
Cittadini, Mr. G. P. 33, Upper George Street, BryanChatterton,

stone Square
Clare, Mr. Edward, Organist, Norwich
Clarke, Mr. W. Organist, St, Mary's Church, Liverpool
Clarke, Mr. J. Professor of Music, Shrewsbury

SUBSCRIBERS.

Clark, Mr. W. Organist, Walton, near Liv^erpool

Clayton, Mr. Organist, St. Mary's, Warwick
Clements, Miss, Professor of Music, Brighton
Cloiigh, Mr. Professor of Music, Manchester

Clough, Mr.

JuTi.

Doncaster

Cobham, Mr. W. H. Professor of Music, London

Codman, Mi'. S. Organist of the Cathedral Church,
Quebec
Coggins, Mr. J. Hale, Organist, Falmouth Church
Cohan, Mr. Professor of Music, Red Lion Square,
London
Conran, Mr. W. S. Professor of Music, Dublin
Conran, Mr. Organist of St. Patrick's Church, Manchester

Cook, Mr. James, Royal Academy of Music

Cooke, Mr. Edward, Music-seller, 26, Commercial
Street, Leeds
Coombe, Mr. Sen. Chelmsford
Coombe, Mr. Jun. Chelmsford
Coope, Mr. Organist, Hoi beach
Cope, Mr. Organist, St. Saviour's Southwark, 28, Albion
Place,

Cooper, Mr.

Walworth
J.

T. Organist of

St.

Michael, Queenhithe,

and Holy Trinity the Less

Cooper, Miss, Professor of Music, 58, Edgware Road
Corrie, Mr J. Winchester
Corfe, Mr. A. T. Organist of the Cathedral at Salisbury
Corfe, Mr. J. D, Organist and Master of the Choristers
at the Cathedral, Bristol
Corri, Mr. Haydn, Organist and Conductor of the Choir,
Catholic Cathedral, Dublin, 3, Hamilton Row,

Merrion Square
Cother, William Esq. Mayor of Gloucester
Couchman, Mr. Organist, Cranbrook
Coventry and Hollier, Messrs. London

Cowlan, Mr. Manchester

Cramer, Addison, and Beale, Messrs. Regent Street,
(Three Copies)
London
Creswick, Mr. Thomas, Organist, 5, John Street, Oxford
Street

Mr. Samuel, Junior, Organist of St. Peter's,

Mancroft, Norwich
Crook, Mr. Organist, and Teacher of Music, Bristol
Cromwell and (Nubbins, Messrs. Professors of Music,
Critchfield,

Southampton
Crossley, Mr. G. J. Organist, Darlington

Cullum, Mr. Henry, Chelsea

Cummins, Mr. C. Professor of Music, Leeds

SUBSCRIBERS.

XI

Curson, Mr. Bookseller, Exeter

Czerny, Charles, of Vienna

D
D'Alniaine and Co. Messrs. Soho Square
Davies, Mr. Orpjanist, St. Alkmonds, Shrewsbury
Davies, Mr. J. Organist of St. George's, Douglas, Isle
of Man

Davidson, Mr. Thomas, Hampstead

Davidson, Mr. R. Professor of Music, Glasgrow
Davis, Mr. John, Professor of Music, Portsmouth
Davison, Mr. J. W. 75, Great Titchfield Street
Dawson, Mr. Charles, Professor of Music, 6, Rawstone
Street, Brompton
Dawson, Mr. Sheffield
Dawson, Mrs. Rectory, Chislehurst
Dearie, Edward, Mus. Bac. Organist, Newark
Devey, Miss, Westow Hill, Upper Norwood
Dibdin, Mr. Professor of Music, Edinburgh
Dipple, Mr. Professor of Music, Hatton Garden, London
Dixon, Mr. Organist, Grantham
Done, Mr. Joshua, Professor of Music, 1, Wellington

(Pupil of Cherubini)
C. Professor of Music, Dover
Dorrell, Mr. Professor of Music, 45, Warren Street
Douce, Mr. J. Professor of Music, 10, Glo'ster Street,
Street, Pentonville

Doorne, Mr.

J.

Queen Square
Duff and Hodgson, Messrs. Music-sellers, London
Dunston, Mr. John, Chester
Dunsford, Mr. J. R. A. M. London
Dyke, Rev. William, Curate of Oxwick, Norwich

E
Eager, Mr. Professor of Music, Edinburgh
Earle, Mr. Samuel, Professor of Music, 24, Lispenard
Street,

New York

Mr. R. R.A.M. London

Edwards, Mr. Music-seller, Arcade, Bristol
Edwards, Mr. Thomas, Organist, Bristol
Edwards, Mr. Professor of Music, Barnstaple
Egan, Mr. F. Professor of Music, Jamaica
Egerton, Mr. Samuel, Band Master, 80th Regiment
Eives, Mr. John, Kennington
Eastcote,

Ellard and Son, Messrs. Music-sellers, Dublin

Ellis, Mr. J. K. Royal Academy of Music, London
Elston, Mr. J. Professor of Music, Leamington
Elvey, S. Mus, Bac. Organist of New College, Oxford

SUBSCRIBERS.

Xil

Elvey, Mr. G.J. Organist of the Chapel Royal, Windsor

Emanuel, Mr. L. A., R. A. M. 116, Great Portland St.
Emiliani, Signer, Professor of Music, Edinburgh
Emmett, Mr. J. C. Organist of Bermondsey New

Church
Ernst, Mr. P. Professor of Music, London
Etherington, Mr. W. Professor of Music, Richmond
Euing, William, Esq. St. Vincent Street, Glasgow
Evans, Mr. Professor of Music, Cheltenham

Evans, Rev. Thomas, A.M. Gloucester

Evans, Mr. J. Organist of St. Mary's Church, Lancaster

F
F. J. Mr. 8, Fenchurch Street, London
Fagg, Mr. J. Professor of Music, Hull
Field, Mr. Henry J. 56, New King Street, Bath
Finlayson, Mrs. Music-seller, Cheltenham
Firth,

Mr. R. A. Hampstead

Fisher, Mr. David, Organist at Yarmouth

Fitzgerald, Mr. Organist at His Majesty's

Royal,
Fleischer,

Chapel

Hampton Court

Mr.

36, North Street,

Lambeth

Flood, Mr. Organist, Honiton

Flood, Mr. Professor of Music, Devizes
Forbes, Mr. H. Professor of Music, Chelsea
Forde, Mr. W. Professor of Music
Foster, Mr. Organist, St. Mary's Tower, Ipswich
Fowler, Mr. Professor of Music, Maidstone
Fremantle, Mr. W. Lay Clerk at the Cathedral of Ely
French, Mr. T. Lay Clerk, Cathedral, Rochester
Frith, Mr. Thomas, Organist of St. Paul's and St.

George's Churches, Sheffield

Mr Frude, Professor of Music, Derby
Frobisher, Mr. J. H. Professor of Music, Halifax
Furnivall, Mr. C, Organist of Overton Church, Oswestry

Fritclie,

G
Gardner, Mr. Thomas, Organist, Ilminster
Gardner, Mr. Charles, Professor of Music, Blackheath

Road
Gardner, Mr. Frederick, Professor of Music, Liverpool
Gauntlett, Henry John, Organist of Christ Church,
Newgate Street, and St. Olave's Southwark
Geary, Miss, Professor of the Pianoforte, Harp, and
Guitar, 61, St. James's Street
Gear, Mr. Handel, 52, Oxford Street
Gibson, Mr. J. Professor of Music, Bayham Street,

London

SUBSCRIBERS.

xiii

Mr. F. 7, Wilmot Street, Brunswick Square

Mr. John L. New York
Gledhill, Mr. R.A.M. London
Glover, Mr. Stephen, London
Goodban, Mr. Professor of Music, Canterbury
Goodban, Mr. Charles, Professor of Music, Tonbridge
Wells
Gordon, Mr. 10, New Square, Lincoln's Inn
Goss, Mr. John
Grattann, Mr. Composer
Graham, Mr, Organist of St, Peter's, Manchester
Gray, Mr. Professor of Music, Dublin
Gray, Mr. J. Teacher of Music, 12, Crawford Street,
Portman Square
Greaves, Mr. John T. Organist, Tamworth
Greaves, Mr. James J. Organist of St. John's, Preston
Green, Mr. Music-seller, Preston
Green, Mr. J. Professor of Music, Gravesend
Griesbach, Mr. J. H. Professor of Music, London
Griesbach, Mr. G. A. Professor of Music, Brompton
Griffiths, Mr. G. R. Organist of South Lambeth Chapel
Gunton, Mr. Frederick, Organist, Collegiate Church,

Gill,

Gilliland,

Southwell
Gutteridge, Mr. Music-seller, Brighton

H
Hackett, Mr. Charles D. Professor of Music and
Organist at Belgrave Chapel, Leeds
Halliday, Mr. Bishopsgate Street, London
Hamlin, Mr. T. P. Organist, Launceston
Hammans, Mr. Professor of Music, London
Hammond, Messrs. H. and G. Music-sellers,

Southampton
Hanson, Mr. Master of the Band, 12th Lancers
Harcourt, Mr. Organist of St. Stephen's, Norwich
Harding Mr. John, Assistant Organist of the Cathedral,
Exeter
Harrington, Mr. Organist and Professor of Music,
Welli n g boro ugh
Harris, Mr. J. Macdonald,
Harris, Mr. J. J. Organist, Collegiate Church, Manchester
Harris, Mr. Edmund, Organist, Bath
Harris, J. Mus. Bac. Oxon.
Harris, Mr. J. T. Judd Street, Brunswick Square
Harrison, Mr. J. Professor of Music, Deal, Kent
Harrison, Mr. William, Professor of Music, Lancaster
Hart, Mr. Joseph Binns, Hastings

SUBSCRIBERS.

XIV

Havergal, Rev. W. H. Rector of Astley, Astley Rectory,

Stourport
Harvey, Mr. Professor of Music, Exeter
Hawes, Mr. William, 355, Strand
Haycraft, Mr.
J. M.R.A.M. Exeter
Haydon, Mr. Professor of Music, Southampton Street,
Fitzroy Square
Haylet, Mr. Organist of the Cathedral, Chester
Heidelberg, Mr. Charles, Professor of Music, 52,

White

Street,

New York

Herbert, Mr. Stationer,

Wimbourne

Herrmann, Mr. A. P. Cork

Henshaw, Mr. William, Organist
at

of

the

Cathedral

Durham

Henshaw, Mr. John, Organist of

haven
Hervey, Mrs. D. Alfred

Street,

St.

Nicholas, White-

Bath

Hespel, Mr. Professor of Music, Glasgow

Hewett, Mr. Repository of Arts, Leamington

Hewett, Mr. Organist, Esher

Hewett, Mr. D. C. Professor of Music,
Square, London

14,

Soho

Mr. J. Organist of the Abbey, Shrewsbury

Mr. H. P.
Mr. Frederic, York
Mr. Joseph, Stockton on Tees
Mr. Professor of Music, Norwich

Hiles,
Hill,
Hill,
Hill,

Hill,

Hime and

Sons, Messrs. Music-sellers, Liverpool

Hind, Miss, Organist of St. John's, Upper Holloway
Hobbs, Mr. Thomas, one of the Gentlemen of His
Majesty's Chapel Royal, 13, Albany Place,

York Road
Hodges, Mr. Charles Oldaker, Bristol
Hodges, Mr. Francis, Bristol
Hodges, Edward, Mus. Doc. of Sidney Sussex College,
Cambridge, and Organist, &c. at Bristol
Holden, Mr. George, Professor of Music, Liverpool
Holford, Mr. John, Professor of Music, Manchester
Hollins, Mr. George, Organist of the Town Hall and
St.

Paul's Chapel,

Birmingham

Holmes, Mr. W. H. London

Hopkins, Mr. E. J. Organist of Mitcham, 27, Vincent
Square, Vauxhall Road
Hopkinson, Mr. Professor of Music, Leeds
Horder, Mr. John George, Professor of Music, 64,
Hatton Garden
Horn, Mr. Organist of St, Paul's Church, and Queen
Street Chapel, Huddersfield

SUBSCRIBERS.

XV

Horncastle, Mr. Frederick W.

Horsley, William Mas. Bac. Oxon. Organist of the
Asylum and Belgravo Chapels, Member of the
Royal Academy of Music in Stockholm
Howell, Mr. T. Music-seller, Bristol
Howlett, Mr. Norwich
Hoyland, Mr. Organist, Louth
Hunt, Mr. Organist of the Cathedral at Hereford
I

Ions, Mr. Organist of St. Nicholas, Newcastle on

Isaac, Mr. B. P.,R.A.M. Liverpool

Tyne

Jamson, Mr. Organist, North Shields

Janes, Mr. Organist of the Cathedral at Ely 2 Copies
Jeans, Mr. E. Organist, New Brompton
Jenner, Mr. Organist, Tenterden
Jewson, Master F.B. R.A.M. London
Johnson, Mr. P. A. Professor of Music, M. R.A.M.
13, Frederick Place, Hampstead Road
Johnson, Mr. Professor of Music, Preston
Jones, Mr. T. E. Organist of the Cathedral at Canterbury
Jones, Mr. George, Organist, Wisbeach
Jones, Mr I. G. Professor of Music, Bridgewater
Joyce, Mr. W. Professor of Music, Deptford

K
C. K. Esq.

Keays, Mr. R. M. Professor of Music, Cork

Keegan, Mr. Burlington Arcade
Keiser, Mr. J. F. Professor of Music, Edinburgh
Kendall, Mr. Holborn, London
Kench, Mr. Teacher of the Theory of Music, 80, Westminster Bridge Road
Kennedy, Mr. Andrew, Professor of Music, Dublin
Ketelle, Mr. Professor of Music, London
Key, Mr, Military Instrument Manufacturer to His
Majesty's Army, London
Kiallmark, G. F. Professor of Music, No. 1, Russell
Place, Fitzroy Square
King, Mr. James, 39, Foley Place
Kirchner, Mr. John, Music-warehouse, Brighton
Kirk, Mr. Wheatly, Leeds
Kirkman, Mrs. Soho Square
Kitchner, Mr. Charles, Professor of Music, Lewes
Knight, Mr. Plymouth
Knyvett, Mr. London

yKE WVgET?EML I.iBE:.:i

111

MSTEIiDAM

'

IBBARY
.

AVJi.

iiiiW

O'lniTG ARTS

YOM,

N. Y. 10023

XVi

SUBSCRIBERS.

Lambert, Mr. G. F. Organist of the Minster, Beverley,

Last, Mr. Frederick, Organist, Huntingdon
Latter, Mr. W. Professor of Music, Bromley, Kent
Leach, Thomas, Esq. Organist and Musician in Ordinary to his Majesty, Cheshunt, Herts.
Leeming, Mr. Wilham, Organist of St. John's, Bury,
Lancashire
Leggatt, Mr. Professor of Music, 7th Hussars
Le Jeune, Mr. Organist of the Metropolitan Catholic
Chapel, and Chorus Master of the Italian Opera
Lemare, Mr. Frederick Handel, Jun. Godalming
Leo, Louis, Professor of Music, St. Alban's Place, St.
James's
Levey, Mr. M. Leader at the Theatre Royal, Dublin
Liddle, Mr. Professor of Music, Newcastle on Tyne
Lightfoot, Miss F. H. Professor of Music, Pimlico
Lincoln, S. Esq. Alexander Square, Brompton
Lincoln, Mr. H. J. Organist of Christ Church, Bloomsbury
Linter, Mr. Thomas Howard, Professor of Music, Stafford
Litlrgow, Mr. W. H. Professor of Music, Glasgow
Litolff, Mr. H. C. Southampton Street, Fitzrov Square
Lock wood, Mr. F. R.A.M. London
Loder, Mr. J. D, Professor of Music, Bath
Loder, Mr. J. F. Bath
Loder, Mr. Edward, Princes Street, Leicester Square
Long, Mr. Assistant Organist of the Cathedral and
College, Winchester
Longman, Mr. George, Musicseller, Cheapside
Lonsdale, Mr. Bond Street, London
Lord, Mr. John, Paddington Green

Loyd, Major-General
Lucas, Mr. Music-seller, Salisbury

Lunn, Mr. Henry C, R.A.M. London

Lyne, Mr. G. T. Professor of Music, Chichester

M
Macdonald, Mr. A. T. Professor of Music, Plymouth
Mackinlay, Mr. J. 250, Tottenham Court Road
Madox, William, Esq. 61, York Terrace, Regent's Pk.
Mallett, Miss, 59, Wardour Street, Soho,
Mai-sh, Mr. Professor of Music, Clifton

Marshall, Mr. High Street, Oxford

London

SUBSCRIBERS.

xvii

Marshall, Mr. F. Leamington

Marshall, Mr. H. Professor of Music, Warwick
Marshall, Mus. Bac. Oxon.
Martin, Mr, Organist, East Dereham
Martin, Mr. E. C. Professor of Music, Richmond
Marvin, Mrs. Professor of Music, Anchor Cottage,

Wood Street, Woolwich

Mason, Mr. Thomas, Jun. Professor of Music, R.A.M.
Newcastle under Lyne
Matson, Mr. J. Organist, Ashford
Mavius, Mr. C. Professor of Music, Leicester
May, Mr. G. London Wall
May, Mr, E. C. Professor of Music, London
Mc Calla, Mr. J. Professor of Music, Old Brompton
McKenzie, Mr. Master of the Band of the Royal
Artillery, Woolwich
McKorkall, Mr. Charles, Northampton
McCullagh and McCullagh, Messrs. Music-sellers,
Dublin

McFadyen, Mr. Music-seller, Glasgow

McFadyen, Mr. Jun. Music-seller, Glasgow
McKeller and Robertson, Messrs. Music-sellers,
Glasgow
Menzies, Mr. W. 9, Charlotte Street, Bloomsbury
Messura, Miss C. Professor of Music, Portsmouth
Meyrick, Mr. Edwin, Professor of Music, 75, Orchard
Street,

New York

Mr. Professor of Music, Portsea

Millar, Mr. T. F. Professor and Teacher of Singing,
Bath
Millett, Mr. Music-seller, 375, Broad Way, New York
Mills, Mr. R. 140, New Bond Street, London
Millsom, Mr. C. Organist of the ARbey Church, Bath
MinshuU, Miss, Kentish Town
Mitchell, Mr. W. P. Organist of Northampton Taber-

Miall,

nacle, Pentonville

Molineux, Mr. J. Professoi- of Music, Liveri)Ool

Molineux, Mr. Thomas, Music-seller, Manchester
Morrison, S, B. Esq. 36, Maddox Street, Hanover Sq.
Monro and May, Messrs. Music Publishers, High
Holborn
Montgomery, Mr. W. H. Professor of Music, 31, Frith
Street, Soho

Moore,

Birmingham
Mr. Professor of Music, Maidstone
Morgan, Mr. S. Professor of Music, Dublin
Moscheles, Mr. Chester Place, Regent's Park
Moses, Mr. Music-seller, Dublin
Moxley, Mr. A.
b
Morfill,

.loseph, Esq.

SUBSCRIBERS.

xviii

Moiitrie,

Mr. Music-seller,

Bristol

Mudy, Mr. Organist

of St. John's, Devizes

Muff, Mr. Music-seller, Leeds
Midler, Mr. C. M. of the Theatre Royal Covent Garden
Munden and Cameron, Messrs, Music-sellers,

Birmingham
Munden, Mr. Thomas, Professor of Music, Birmingham
Munns, Mr. J. Organist, Gainsborough
Murray, Mr. A. Professor of Music, Edinburgh
Music, the Royal Academy of, London

N
Napier, Mr. William, Professor of Music, Edinburgh
Neale, Miss, Professor of Music, Lynn
Neate, Mr. London
Neville,

Mr. Leamington

Nelson, Mr.

W.

Organist at Fulneck, near Leeds

Francis, Professor of Music, Exeter

Newman, Mr John

Newson, Mr. G. L. London

Nicholls, Mr. E. T. Organist, Hitchin, Herta.
Nicholson, Mr. John, Professor of Music, Fareham
Noble, Mr. C. Organist, St. Mary's, Nottingham
Nosworthy, Miss
Nottingham, Mr. R.

W. Professor of Music, Peckham

Novello, Mr. Dean Street, Soho
Novello, Mr. Alfred, Dean Street, Soho
Nunn, Mr. Robert, Bury St. Edmunds
Nunn, Mr. John, Organist of St. Paul's and St. Mary's
Churches, Bedford

O
Oliver, Col. .16, Oxford Terrace
Olliphant, Mr. 33, Albany Street, Regent's Park
Ollivier, Mr. Music Seller, 41, Bond Street

Orre, Mr. G. F. Organist of St. James's Church, Whitehaven, 2 copies

P
Packer, Mr. Charles, Professor of Music, London
Packer, Mr. F. A. Professor of Music, Reading
Packer, Mr. G. Professor of Music, Northampton
Packer, Mr. George, Bath
Palmer, Mr J. B. Music-seller, Liverpool
Palmer, Mr. Benj. Organist of St. James, Clapham
Palmer, Mr. H. Organist, Canterbury
Palmer, Mr. W. Professor of Music, Canterbury
Parsons, Mr. R. Professor of Music, London
Patton, Mr. Professor of Music, Winchester

SUBSCRIBERS.

xix

Patton, Mr. Mnsic-Peller, Bath

Patch, Mr. (3rsanist, Dorchester
Paterson and Roy, Messrs. Music-sellers, Edinburgh
Pearson, Mr. J. Professor of Music, Staly Bridge, near

Manchester
Mr. Professor of Singing, Lichfield
Perez, Mr. Sixto, 76, Great Portland Street
Perkins, F. Esq. Chipstad Place, Kent
Pearsall,

Perry, Mr. Bookseller, Warwick

Pettet, Mr. E. Professor of Music, Bishop Wearmouth,

Durham
Phillips,

Mr. Organist of Wickliffe's Church, Lutter-

worth

(2 copies)

Mr. H. Hammersmith
Phillips, Mr. Professor of Music, Wakefield
Phillips, Mr. W. L. 6, Cirencester Place, Fitzroy Sq.
Phillpot, Mr. S. Organist, Trinity Church,, Maidstone
Phipps, Mr. Osmond G. Professor of Music, Ramsgate
Phipps, Mr. G. A. Ramsgate
Phipps, Mr. W. H. Professor of Music, Ramsgate
Pickering, Mr. Royston
Pickering,
Mr. Professor of Music and Organist,
Manchester
Pigott, Mr. Music-seller, Grafton Street, Dublin
Pigott, Mr. George, Professor of Music, London
Piatt, Mr. Organist, Ealing
Platts, Mr. C. G. Organist, St. Paul's Chapel, MaryPhillips,

lebono

W. Organist of St. Mark's, North Audley

Street
Porter, Mr. Organist, Gosport
Potter, G. W. K. Esq, 6, Basinghall Street
Potter, Mr. C. Principal of the Royal Academy of

Pole,

Mr.

Music, London
Potter, Miss, Professor of Music, 17, Craven Street,

Strand

Power, Mrs. 34, Strand

Power, Mr. W. Master of the Band, Royal Military
College, Sandhurst
Praeger, Mr. L. Professor of Music, 16, Nelson Street,

Commercial Road
Preston, Mr. Thomas, Organist, Fakenham, Norfolk
Price,

Price,

Mr. Thomas
Mr. R. S. Professor of Music, Ludlow, Shropshire

Price,

Mr. G. 57, Great Coram Street, Russell Square,

late 111, Upper Stamford Street, London

Pridham, Mr Organist, Topsham

Purday, Mr. Z. T. 1;'), Holborn

b 2

SUBSCRIBERS.

XX

Purely, Mr. Finch Lane, London

Piirday, Mr. St. Paul's Church Yard
Pyniar, Mr. Organist, Beccles

R
Mr. C. Professor of Music, Barnstaple
Redhead, Mr. Edward, Organist, Aylesbury
Reed, Mr. Professor of Music, 35, Theberton Street,
Rafarel,

Islington

Ree, Mr. A. Organist, Ludlow

Reeve, Jun. Mr. Bury St. Edmunds
Reeve, Mr. Professor of Singing, Woolwich
Richards, Mr. Henry, Professor of Music, Carmarthen
Ridley, Mr. Professor of Music, Newcastle-upon-Tyne
Righton, Mr. J. H. Organist, Trowbridge and Bradford,
Wilts.

Robinson, Mr. John, York

Robinson, Mr. John, Organist at

the Cathedrals of
Christ Church and St. Patrick's, Dublin
Robinson, Bussell,and Robinson. Messrs. Music-sellers,

Dublin
Robbens, Mr. T. S. Bath
Robertson, Mr. Alexander, Edinburgh
Robson, Mr. Organiat, St. Michael's, Cambridge
Rodwell, Mr. G. Herbert, Composer and Director of
the Orchestra, Theatre Royal, Drury Lane
Rogers, Mr. John, Organist, Doncaster
Rolfe and Sons, Messrs. Cheapside
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Rooke, Mr. Professor of Music, Sidmouth
Rowe, Mr. P. Professor of the Piano and Guitar,

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Rudall, Mr. George, Covent Garden
Ryder, Mr. N. Professor of Music, Salford

S
Salaman, Mr. Charles, 36, Baker Street, Portman Sq.
Sale, Mr. J. B. Professor of Music, 25, Holywell St.
Millbank
Sanders, Mr. Organist, Old Church, Maidstone
Sanderson, Miss, Music-seller, Brighton
Satchell, Mr. Professor of Music, Warwick
Saxton, Mr. J. Organist and Professor of Music,

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Schmidt, Mr. J. Professor of Music, London
Schnebbelie, Mr. Organist of St. Nicholas, Rochester
Scales,

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Schepens, Mr. London

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Severn, Mr. T. H. James Street, Covent Garden

Severn, Mr. Charles, Organist, St. John's, Hoxton
Shargool, Mr. Professor of Music, Birmingham
Sharman, Mr. W. H. Professor of Music, Birmingham
Sharp, Mr. Professor of Music, Oxford

Shaw, Mrs. Alfred, Berners Street, Oxford Street

Shearman, Mr. Organist, Stamford
Sherrington, Mr. William, Casterton, Westmorland
Shore, Mr. William, Manchester
Shoubridge, Mr. J. Lay Clerk, Cathedral, Canterbury
Shrivall, Mi-. Professor of Music
Shuttleworth, Rev. Edward, Kea, Cornwall
Sibley, Mr. Organist, Portsea
Sibold, Mr. J. H. Organist and Professor of Music,
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Simms, Mr. Henry, Music-seller, Bath
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Skinner, Mr. William, Musicseller, Exeter
Small, Bruce, and Co. Messrs. Music-sellers, Edinburgh
Smalpage, Mr. Thomas, Leeds
Smart, Sir George, Organist of His Majesty's Chapels
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Smart, Mr. C. Professor of Music, 3, Little Smith Street,
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Smart, Mr. Henry, Organist, Blackburn
Smith, James, Esq. Gloucester
Smith, Mr. Henry, Organist of the Parish Church, Leeds
Smith, Mr. James, 64, Lord Street, Liverpool, 2 Copies
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Smith, Mr. James, Bookseller, Inverness
Snelling, Mr. Professor of Music, Teignmouth
Solly, Mr. J. N. Professor of Music. London 2 Copies
Spencer, Mr. C. C. Bishop Stortford, Herts.
Springsguth, the Misses, Professors of the Pianoforte
and Singing, 3, Shackelwell Green
Stacey, W. H. Esq. Maidstone
Stanier, Mr. Professor of the Flute, Birmingham
Steers, Miss

Fanny

Sternberg, Mr. Northampton

Stevens, B. G. Esq. 23, Bedford Square

SUBSCRIBERS,

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Steil,

Mr.

W. Henry,

2,

Berkeley Street, ConnaughtSq.

Stidolph, Mr. W. Professor of Music, Blackheatb

Stinipson, Mr. James, Organist of St, Andrews, Newcastle

on Tyne

New

Stodart, Mr. Adam, 375, Broadway,

York
Stokes, Mr. C, Brecknock Terrace, Camden Town
Strickland, Mr. John, Professor of Music, Lontlon
Stockham, Mr. Master of the Band, Royal Marines,

Plymouth
Stone, G. Jnn. Esq. 7, Ciiester Terrace, Regent's Park
Stone, Miss, Professor of the Pianoforte, 34. Throgmorton Street
Suett, Mr. Professor of Music, Doncaster
Sufferin Mr. Professor of the Flute, Woolwich
Sugden, Mr. R, i\cademy, Camden Place, Peckham
Summerhayes, Mr. John, Organist, Crewkerne
Summerhayes, Mr. Samuel, Professor of Music, Taunton
Surenne, Mr. J. T. Professor of Music, Edinburgh
Sutton, Mr. W. Organist, Dover
Sykes W. and Sons, Messrs. Music-sellers, Leeds

Tanner, Mr. A. H. Professor of Music, Maida Hill

Taylor, Lieut.-General Sir Herbert, G, C. H. liondon
Taylor, Mr Richard B. Professor of Music, 219, Fourth
Street, New York City
Taylor, Miss, Organist, Brentwood
Taylor, Mr. George Morton, Professor of

delphia,

Taylor,

Mr.
71,

U.

P.

S.

M usic,

Phila-

New

York,

S.

Adams

Organist,

Street,

St. Paul's,

Booklyn

Taylor, Mr. Bianchi, Professor of Music and Singing,

Bath
Taylor, Mr. Edward,

3, Regent Square
Tennyson, Mr. 12, Mornington Crescent
Terry, Mr. J. F. Hackney
Teulon, Miss, Professor of Music and Organist of the
Parish Church, St. Alphege, Greenwich
The Edinburgh Amateur Musical Association,
Mr. James Anderson, Secretary, 6, Great King
Street, Edinburgh
Thom, Mr. Professor of Music, Glasgow
Thorns, Mr. Professor of Music, Portsmouth
Thomson, Mr. Professor of Music, Glasgovv
Tliompson, Mr.
H. Music-seller, Liverpool
Thomson, Mr. G, Music-seller, Liverpool

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Thomson, Mr. John, 32, Royal Circus, Edinburgh

Thorne, Mr. Organist of St Peter's, Colchester
Tipper, Mr. J. E. Organist of St. Edward's, Romford,
Essex
Tomlinson, Mr. .John, Professor of Music, York
Tompson, Mi-. Frederick Oilando, Professor of the Harp
Tonge, Miss Eliza, Professor of Music, Boston
Topliff, Mr. R. Organist of Trinity Church, Southwark,
51, Trinity Square
Tovvnsend, Mr, Music-seller, Manchester
Troup, Mr. J. Professor of Music, Rochester
Turle, Mr J. Organist of Westminster Abbev
Turle, Mr. Robert, Organist of the Cathedral, Armagh
Turner, Mr. 29, Burv Street, St. James's
Turvey, Mr. Retford

V
Vaughan, Mr.Gentleman of His Majesty's
Chapel Royal,
^
&c. 89, (Treat Portland Street

Venua, Mr. (late of the Italian Opera), Reading, Berks.

Venning, Mr. Professor of Music, Newton Bushell
Viner, Mr. Organist of St. Mary's Chapel, Penzance

W
Wackerbarth, Mr. F. D.
Walker, Donald, Esq. Old Cavendish Street
Wall, Mr. Richitrd, Organist, Monmouth
Walmisloy, Thomas Attwood, Mus. Bar. Jesus College,
and Professor of Music at the University of
Cambridge, and Organist of Trinity and St.
John's Colleges

Walmisley, Mr. Thomas Forbes, Organist of St.

Martin in the Fields
Walton, Mr. E. Preceptor of Music and Organist of
St. Paul's, Leeds
Warcup, Mr. W. Organist, Dartford
Ward and Andrews, Messrs. Manchester
Ward, Mr, Musicseller, Winchester
Warne, Mr G. Organist to the Hon. Societies, Temple

Warren, Mr. Joseph, Organist,

St. Mary Chapel,

Chelsea
Washington, W. Esq. Gloucester
Wass, Mr. R.A.M. 11, Oxford Street
Watkins, Rev. T. M.A.
Precentor of Winchester
Cathedral
Watson, Mr. William, Professor of Music, Newcastle
on Tvne

SUBSCRIBERS.

XXIV

Watts, Mr. Cirencester Place

Webster, Mr. R. Professor of Music, Glasgow
Weekes, Mr. T. E. Professor of Music, Stoneliouse,

Plymouth
Weiss, Mr. Music-seller, Liverpool
Wellard, Mr. Music-seller, Canterbury
Well man, Mr. Professor of Music, Southampton
Wells, Mr. Professor of Music, Poplar Cottage, Brentford

Road

West, Mr. Henrv, R.A.M.

2 Copies
West, W. A. Esq. Paris
Westervelt, Mr. Amateur, New York
W^hall, Mr. B. Organist, Lincoln
White, Messrs. Music-sellers, Bath
White, Mr. Professor of Music, Wakefield
Whitehead, Mr. Organist of St. Mary de Crypt,
Gloucester

Wholmes, Mr.

J.

Organist, Charlton,

Kent

Wickens, Mrs. Music-seller* Oxford

2 Copies
Wicking, Mr. W. C. Professor of Music, London
Wilder, Charles, Esq. Eton College
William, Mr. Professor of Music, Glasgow
Williams, Miss, Organist of St. Ann, Limehouse
Wilkins, Mr. Organist, Ilfracombe
Wilkinson, Miss E. M. Professor of Music, 21, Old
Cav(>ndish Street, Cavendish Square
Wilkinson, Mr. James, Professor of Music, 3, Theberton
Street, Islington

Mr. Brewer Street, Golden Square

Wilson, Mr. William, Organist, Unitarian Chapel,
Leeds
Wilson, Mr. M. C. 22, Connaught Square
Wilson, Mr. W. Organist of St James's, Garlick Hill
Wilson, Mr. W. B. 21, Stepney Causeway Organist of
Willis,

Mary, Greenwich
Wilson, Mr. Walter, Organist of
St.

St.

Mary's and of

Christ Church, Scarborough

Windsor, Mr. J. W. Bath

Winter, Mr. Organist, Long Sutton
Woakes, Mr. Professor of Music, Cheltenham
Wolff and Co. Messrs. Cornhill
Wood, Alfred, J. Esq. Surgeon, Gloucester
Wood, Mr. T. Music-seller, Cambridge
Wood and Co. Messrs. Edinburgh, 3 copies

Woodward, Mr.

Music-seller,

Cheltenham

Wright, Mr. Organist, Sunderland

Wright, Mr. T. Professor of the Harp, 15, Norton

St.

TRANSLATOR'S PREFACE.

Counterpoint may be described as the art of

adding one or more parts to a given melody or
subject, so as by these additions to form a correct
and harmonious whole. It is to musical composiand, as it is
tion what grammar is to language
impossible to understand a language without a
knowledge of the principles which regulate the
combination of its words, and sufficient practice in the
:

application of these principles

to

make any

so

it

is

impossible

considerable progress in composition,

without a knowledge

of,

and a

sufficient practice in

Counterpoint.

Counterpoint and composition resemble gramthe contrapuntist is not necesmar and poetry
sarily a composer, any more than the grammarian
but as the poet must of necesis necessarily a poet
sity understand grammar to write with any degree
;

of

correctness,

so

must

the musical

composer

necessarily understand Counterpoint, or he will, at

every moment, encounter difficulties which he will

be unable to vanquish, and fall into errors which
will consign his productions to contempt and oblivion, whatever may be their occasional merit.
By the study of Counterpoint, the composer obtains a fulcrum, or point of support, upon which

he may

at all times safely repose

and, without the

help of which, he cannot to give his productions

PREFACE.

XXVI

unity, regularity, nor intrinsic

and

import-

lasting"

ance while, by this study, he Avill ensure to himself

an inexhaustible treasure of musical forms, analogous in their very nature to the principles of unity
and variety combined.
That the English musical public at length begin
to perceive the paramount importance of the study
of Counterpoint, as the key to composition, is sufficiently obvious from the extensive encouragement
they have given to the magnificent edition of
Albrechtsberger's Theoretical Works, in two vols,
8vo. published by Messrs. Cocks and Co. and to the
series of little Musical Catechisms on Harmony,
Counterpoint, and Fugue, by Hamilton, as well as
from the splendid and almost unprecedented list of
;

Subscribers prefixed to the present work

list

which contains no fewer than from six to seven

hundred names, including, besides six Royal
Personages, nearly all the principal Composers,
Organists, Professors, and distinguished Amateurs,
throughout the three kingdoms, as well as many
eminent Foreigners. The conviction of this fact
has led to the translation of the present work by
Cherubini, a name known and venerated whereever music has found cultivators and admirers;
a name, in short, which is in itself a sufficient

guarantee of

its

extraordinary merit.

Emanating from the pen of so distinguished a

composer, so profound a theorist, and so practised
a teacher of his art, every page

is,

as

might be

anticipated, distinguished by lucid and systematic

connection of ideas
the

work

is

and, considered as a whole,

so complete, so well digested in all its

and so surprisingly rich in classical and

beautiful examples, that we do not hesitate to place
details,


XXVU

PREFACE..

among

the brightest ornaments of musical liteand to predict that it will be universally

looked upon as an imperishable monument of glory
to its illustrious Author.
This translation will, it is hoped, be found a

it

rature,

been

Nothing has

omitted, nothing essentially altered, nothing

transposed.

made

of the original.

transcript

faithful

The

consist

only changes which have

been

first, in the distribution of the

work

books and chapters, for the sake of greater

convenience of reference, and the more easy compreand, secondly,
hension of it as a systematic whole
the total omission of the three C clefs, which are to
be met with in almost every page of the original.
Much experience in teaching Counterpoint has convinced the Translator that these clefs oppose the
into

greatest obstacle

to

the progress

of students in

and that more of the practice of Countero-eneral

point may be acquired by a pupil in three months,
;

when taught through the medium

of the

treble

than he could acquire in as

from the outset with
embarrassed
many years,
Not that they are to be
these additional clefs.

and bass

clefs only,
if

considered as useless : after some little progress

has been made, the pupil should learn them one by
one and this he will then be able to do with ad;

vantage and

facility.

place of the notes in the great scale of

sounds, or, in other words, their absolute pitch, has
the sounds indicated are
no where been altered

The

examples;
the translator has only expressed those notes by
exactly

the same as in

means of the
were written

treble

in the

clef,

the

original

which, in the original,

soprano or

in the contralto clefs

PREFACE.

XXviil

and

in the bass clef, those

which originally stood

in

the tenor or C clef, on the fourth line of the stave.

These changes, it is hoped, will render this edition

much more

generally useful and acceptable to the

musical public, than

if

the notation of the original

had been scrupulously retained.

J.

London,
\st Mai/, 1837.

A.

HAMILTON.

CONTENTS OF VOL

I.

BOOK

I. COUNTERPOINT.

CHAPTER
I.

PAGE
Introduction

Preliminary Notions

Concords which may be used in strict Counterpoint

Discords to be employed in strict Counterpoint.

3
3

Different kinds of movement, as conjunct, disjunct,

similar, contrary, and oblique

II.

Counterpoint in two Parts

First Species

Note against note

False Relations

13

four

III.

Second Species in two Parts

IV.

Third Species in two Parts

semibreve

V.

VI.
VII.

two notes against one 20

notes to each

30

Syncopations
Florid Counterpoint.

Fourth Species in two Parts

Fifth Species in two Parts

40
.

54

Counterpoint in three Parts

note against note

Second Species in three Parts two minims

54

First Species

VIII.

to

one

semibreve
IX.

X.

49

61

Third Species in three Parts

semibreve

four crotchets

to

one

70

Fourth Species in three Parts

Syncopations ....

Syncopations on a pedal-note, with examples.

76
82

Second and fourth and third and fourth Species

87
mixed, with examples
XI.

Fifth Species in three Parts

Florid

Examples of the second and

fifth

Counterpoint. 89

Species combined 90

Ditto of Florid Counterpoint in two of the three

91
parts
XII.

92

Counterpoint in four Parts

First Species

note againt note

92

Examples of

the first, second, and third Species

in four parts, and various combinations of them 98

XIII.

Fourth Species in four Parts

Syncopations

Examples on Pedal Harmonies

Combinations of the second,
Species

in four Parts.
third,

110
.

.116

and fourth
12-

CONTENTS.

XXX

Fifth Species in four Parts - Florid Counterpoint.

XIV.

Examples of Florid Counterpoint

in

three of the four Parts

XV.

Counterpoint in

Example

five, six,

12fi

seven, and eight real Parts. 127

for five voices

note against note.

Ditto
four of the parts

Ditto in six Parts

124

two and in

florid

.131

counterpoint in

132

note against note

Ditto
the parts

florid

133

counterpoint in five of

134

Ditto in seven parts

note against note

Ditto
of the parts

florid

130

counterpoint in six

138

Ditto in eight parts

note against note

Ditto
of the parts

florid

140

counterpoint in seven

142

Examples of the sixth struck together with the

145
seventh, and the eighth with the ninth
Example for two Choirs in Florid Counterpoint
14()
without any given subject

BOOK
On

XVI.

II. IMITATION.
150

Imitation generally

Imitation in two parts, in similar motion

152

Examples

153

in all Intervals

159

Imitation by contrary motion

xviT.

Strict or regular imitation in contrary

motion.

Retrograde imitation in contrary motion

XV

Several other sorts of imitation

162
1

(53

as

Imitation by augmentation

167

168

diminution
with reversed accents, or by arsin

169

and thesin
Interrupted imitation

170

Convertible imitations

171

Periodical imitation

172

Canonical imitation

173

Example of finite canonical

imitation

infinite canonical imitation.

XIX.

Imitations for three and four voices

Inverse contrary imitation

Example

174

..175
176

186

of ditto in eight parts, for two choirs. .192

CONTENTS.

BOOK
XX.
XXI.
xxir.
xxiir.

On

III. DOUBLE

COUNTERPOINT.

Double Counterpoint in general

XXIV.

Ditto

in the Eleventh

XXV.
XXVI.

Ditto

in the Twelfth

Ditto

in the Thirteenth

XXVII.

Ditto

in the Fourteenth

XXVIII.

220
22o
229
233
237
240
243
247
247

original Triple Counterpoint in the

Octave, with
Ditto,

XXX.

.219

Triple and Quadruple Counterpoints

In the Octave, with added Thirds

Example of

XXIX

Double Counterpoint in the Octave

Double Counterpoint in the Ninth
Ditto
in the Tenth

its

Quadruple

253
255

Inversions

ditto,

with

its

Inversion

Triple and Quadruple Counterpoint in the Tenth. .261

Triple and Quadruple Counterpoint in the Twelfth. .269

Various Examples from Padre

273

INIartini

BOOK IV. FUGUE.

xxxr.
XXXII.

On Fugue in general
On the Subject, Answer,
Fugue

XXXIII.

XXXIV.

XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.

On
On

and Countersubjects of a
287
287
291

1.

Subject

2.

Answer

3.

Countersubjects

292

303
306
308
315
318
323

the Stretto
the Pedal in a

Fugue

Tonal Fugue
Real or Strict Fugue

Fugue of Imitation

On
(

the Codetta

)n the Episodes and Modulations inti-oducible into

*332
a Fugue

2.

XL.

285

332
333

Episodes

Modulations

Entire Composition of a Fugue

Example of a Strict Fugue in
lysed throughout

General Remarks

END OF VOL.

I.

335

Two

Parts, ana-

336
343

CONTENTS.

XXXll

CONTENTS OF VOL.

II.

EXAMPLES ON FUGUE WITH A PERPETUAL

ANALYSIS.
Fugue

Two
Two

Parts

Parts

Strict

2.

Tonal Fugue in

3.

Strict

4.

Tonal Fugue in Three Parts, with One Countersubject.

5.

Ditto

6.

Ditto

7.

Chromatic Fugue in Four Parts, with Three Countersub-

Fugue

in

in

iu

Three Parts

Four

13

ditto.

. .

.with

2()

. .

One

Countersubject. ... 34

Two

Countersubjects ... 50

Parts, with

66

jects

Remark on

the Plagal Cadence

87

8.

Tonal Fugue, much developed, in Eight Parts,

9.

Strict

for

Two
88

Choirs

Fugue

in Eight Parts, for

Two

Choirs, composed by

Joseph Sarti

168

APPENDIX.
Fifty-three Subjects of various lengths

and in

different

Keys,

to

serve for Lessons on Strict Counterpoint

Twelve Basses
Choirs

for

Counterpoints in Eight Parts, and for

200

Two
211

X-.1

LiiiiiiLiif

COURSE
OF

COUNTERPOINT AND FUGUE.

BOOK

I.

CHAPTER

I.

INTRODUCTION.

In commencing this Course, I suppose that the

pupil is already acquainted with the theory of
chords, and consequently M'ith harmony.
I therefore at once hegiu hy teaching him strict
counterpoint ; not that kind which depended upon
the old ecclesiastical tones or modes, as practised
hy the ancient composers, hut that which depends
upon the only two modes now admitted in music
this will insensihly render the pupil familiar with the
art of fugue-writing, which is the foundation of composition.
It is necessary that the pupil should at first be
obliged to adhere to very rigorous precepts, in
order that afterwards, when he is composing in the
free style, he may know how and wherefore his genius, if he possess any, shall have compelled him
to break through the severity of these early rules.
It is by subjecting himself at the outset to the
strictness of these rules, that he will hereafter learn
to avoid the abuse of licenses
and, by this practice
also, he will best form himself to the peculiarities
of the fugue-style, which, of all others, is the most
difficult of acquisition.
B
;

I therefore recommend the pupil who devotes

himself to composition, to read, and even, as often
as possible, to copy out with attention and reflection the works of classical composers, and, occasionally, even of those of an inferior grade
to
learn from the former how to compose well, and,
from the latter, how to avoid falling into their
errors.
By these observations, often repeated, the
pupil will accustom himself to exercise the ear
through the medium of the eye, and will progressively form his style, his sentiment, and his taste.
The young composer, who shall have followed
the instructions contained in this course of study,
when once arrived at fugue, will no longer have
he will be able to m rite with
occasion for lessons
purity in any style, and, by studying the forms of
the different kinds of compositions, he will easily
express his ideas with propriety, and produce whatever effects he mav desire.
;

PRELIMINARY NOTIONS.
CONCORDS WHICH MAY BE EMPLOYED IN STRICT
COUNTERPOINT.
Ancient composers, from Guido d'Arezzo, have
admitted only two perfect concords, the octave and
the perfect fifth and two imperfect concords, the
third and sixth.
The former are called perfect, hecause they do
not admit of any alteration without losing their
consonant character.
The latter are called imperfect, because they
that is, they may be
are subject to be altered
major or minor.
;

DISCORDS TO BE EMPLOYED IN STRICT COUNTERPOINT.

Discords are the second, the fourth, the seventh,

and the ninth. These discords can only be used

when prepared by one concord, and resolved by
another
unless they are used by transition, of
which we shall treat farther on.
The imperfect fifth, and the superfluous fourth
or tritonus, were rejected by ancient composers
we must therefore not use them in strict counter;

point, except as passing discords.

Observation.
I repeat, once for all, that in saying strict modern
counterpoint, I only intend to apply the term modern to the nature
of the modes which are to be employed
but, as to the chords
themselves, I have only used those which are met with in ancient
authors that is, the chord of the third and fifth, and that of the
;

third

and

sixth,

and the discords which we have just enumerated.

only in treating fugue, that the pupil

greater degree of latitude.
It is

may

allow himself a

ON THE DIFFERENT KINDS OF MOVEMENT.

By the word movement we intend to define the

progression from one sound or note to another,
B 2

either melodially, that is, in one part only, or hai^monically^ that is, in several parts at the same time.
Considered with reference to melody only, a
conjunct movement is that in which the notes succeed
one another by degrees, thus
-^-CJ.
e- -T3~ o- XT -^- ~cr -^
:

m; noeA

-o

movement

disjunct

is

that in which the notes

succeed each other by intervals.

-Ci-

xi.

-^-

-^>

-^

:o^=o: -^

xx
T3"

Considered harmonically^ that motion or moveis called similar, direct, or parallel, in which
two or more parts ascend or descend at the same

ment

time.
SIMILAR MOTION IN TAVO PARTS.

-^-

rr -^

-^

is:

SIMILAR
<r>.

MOVEMENT
->-

<^>

IN

-^

~T7"

-- :r7~n

-0_

THREE PARTS.

-^
-^ -^

cr

21:

XX -^
"O"

-^-

zx

-^

XJ

izo:

Contrary movement takes place when one poxt

ascends while the other descends.

/V

o ^
(^^

">.--

1
1

>
Is;
I)
If

>

>

^-^
^-^

c^

^^
^^

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^^
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1
s

r >

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1
1
1

SB
i

*-'

f i

1
1

r->

<

''~>

r^

II

II
!l

^->

i^^

When one or more parts ascend or descend,

while one or several other parts remain stationary,
the movement is oblique.
IN

V
js*f

r>

r:)

V7

r>

r^
CD

< >

fn>

TWO

t-J

1
1

<

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It

II

r- r-i
l-O-O

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1

r">

r-1

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h c>

"nr
# J rr

PAIITS.

THREE PARTS.

IN

~o:

-^

-^

-^

-Qi

-^

-^

a:
IN

251

FOUR PARTS.
-Q-

-Ci_

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a: SE

t -o-

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^
c-

r-i

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1
1
1

Of these three movements, the most elegant is

oblique motion holds the
the contrary movement
second rank direct motion ought to be used but
;

little,

because

it

produces inconveniences which we

shall explain in the sequel.

We

shall here add, that in all the species of

counterpoint of which we are going to treat, as well

as in Fugue, the pupil should write for voices, and

not for instruments. He must therefore conform to
the natural compass of the different kinds of voices.
He will thus learn to produce eifects by voices only
a study of considerable difficulty, and perhaps
but too much netrlected and he will afterwards find
himself more at his ease when he shall write for
instruments, and when, of course, he will no longer
be obliged to confine himself within the limits of
the voice.

CHAP.

II.

COUNTERPOINT IN TWO PARTS.

Counterpoint
of

all,

in two parts is the most rigorous

either in the ancient system or the modern.

The reason

of this is simple the fewer the difficulbe overcome, the more strict must be the observance of the rules. Two parts only do not present so many trammels as a greater number of parts
moving together so that the severity of this kind
of composition diminishes as the number of the
:

ties to

parts augments.

FIRST SPECIES NOTE AGAINST NOTE.

RULE I.
must begin with a perfect concord, and also
terminate with one so that the first bar may be
either a fifth or octave (or imisonj, and the last bar

We

We

must be simply an octave or a unison.

shall
here observe, once for all, that by a fifth we also
mean a twelfth, and by the octave, a fifteenth,
according to the relative distances of the voices
which Ave employ
the same must be understood of
all the intervals which may be doubled or even
:

tripled.

FIRST BAR.

LAST BAR.

UNISON.

-^-

ffi

UNISON.

-CJ-

s?

-i::j

RULE

_4_1-

II.

The

parts must always proceed in concords,

avoiding the unison, if possible, except in the first

and

last bars.

Observation.

Tlie production of harmony being

the end chiefly

unison is prohibited as not producing
any.
The same objection does not apply to the octave, though it
is nearly in the same case as the former
but the difference of
effect, which is perceptible between grave and acute sounds, renders
it somewhat less devoid of harmony than the unison.

aimed

at in counterpoint, the

RULE III.
part may sometimes be allowed to
cross below the bottom part this must always be
done by means of a concord, and must not last for
any considerable time indeed, this means is only
allowed, either to enable us to escape from some
case of embarrassment, or to improve the melody
of the parts
since, as we have already said, the
pupil should at first write for voices onlv.
Ex.

The upper

X-

O"__^-

.2.

-^

-^

3-1

>

The

where the upper part

I advise the pupil,
the under part.
however, to employ this license with reserve.
* indicates the places

crosses below

RULE IV.
Several perfect concords of the same denominaconsequently,
tion must never succeed one another
in
succession,
are protwo fifths or two octaves,
;

hibited.

This prohibition is applicable to all kinds of

composition, whether in two parts or in more.

strict

series of octaves renders the harmony almost a

a series of fifths forms a discordance, because the upper
part moves in one key, while the lower part proceeds in another.
For example, if to the scale of C we add an upper part which
shall form a perfect fifth in each bar, thus

Ubxervation.

nullity

fo

o-

_^.

_CJ_.

-^

-CX

One

part will be in the key of C, while the other is in G.

It is
this concurrence of two keys that the discordance of the
passage originates
and hence the prohibition of usiijg several

from

even when the movement of the parts, instead

succession
of being conjunct,

fifths in

is

disjunct, for the discordant effect will

still

exist.
r\

w
m(
\\

^^

r>

ff/".
ff^

r-)

"^

1
1

c^

1
1

*J
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<

:>

<

pf-.
r->

-^1

1
1

Such is one of the inconvenient results of similar motion,

which we have before promised to explain.

Consecutive fifths have been and are still tolerated in contrary motion
because, though their
nature is the same, the movement causes them to
;

change their

s})ecies.

i
d

-^-^-

12

^
12

-C9-

g
By

-Hi.

example, we perceive that one is a

fifth, which changes their nature.
Still, however, this license is not allowed in
counterpoint in only two parts, particularly in note
ap;ainst note
it is only tolerated between the middle
parts, in composin^^ for four voices, when we are
embarrassed to find a o;ood progression for the parts.
this

twelfth and the other a

The

pupil may, in works written in the free

symphonies, &c., occasionally meet
with consecutive fifths
but these licenses are only
to be tolerated in such kinds of composition.
style, as operas,

RULE

v.

We

are not allowed to proceed to a perfect concord in similar motion, except in that particular case
where one of the two parts moves only a semitone.
This exception is permitted.

EXAMPLE
12:

FORBIDDEN

PROGRESSIONS.

-3-

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g -Ci

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-C2-^>-

zx -^

-^

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ZX
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Ci.

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10

EXAMPLE

II.

(AUuwed, because one of the two parts moves only a semitoue.)

n
__
^
-.** '
H
CJ
yf
-^
cj
n
r?>
""^

li

r^

itr-i

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1^

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j-i*

II
IE
II
11

progressions in Example 1 are prohibited

if we fill up the distances formed by the
intervals with notes of a less value ascending or
descending, there will result either two fifths or two
octaves these are called covered or hidden octaves
or fifths.

The

because,

EXAMPLE WITH THE INTERVALS FILLED UP BY CROTCHETS.

-^

-Ct.

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C5-

^^
(-?
yf
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^^
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CJ)

t=^ ipno:

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II
1

18

r
1

^^
^^

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1
1

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8
1 1

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tt

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A
r: iL

III

1 1
\ 1

A
^

1
I
1
I

At first, this rule appears without any foundation

the intervening crotchets not being written by the composer,
the two fifths or two octaves do not seem to have any real existence.
But the singer may perhaps add these crotchets, and then the two
fifths or octaves will be clearly perceived.
The ancient composers,
Remark.

for

which would result

from the inconsiderate license which a singer might allow himself
in this case, have prohibited the passing to a perfect concord in
similar motion.
The rule which tells us to use contrary motion in
preference, is therefore excellent, since it preserves us from falling
into an inconvenience, though a hidden one, of which similar
motion is the cause. This rule is one more proof of the disadvantage of similar motion.
As to the progression allowed and indicated in Example II, the
in order to provide against the inconveniences

11
case

is

two

for, iu filling nj) in the same way by crotchets

marked by the intervals, though there will still result
one is imperfect and the other perfect.

different

the spaces
fifths,

EXAMPLE

a= -^

II

t:.

^=p=

5th

imper.

-*o-

AVITH

CROTCHETS.

-^-

"^^

Imperfect

flth

perfect.

5th.

zx

cj^z^ij:zs

Perfect
6th.

-^

I
These two fifths are allowed, because they are
not of the same nature, and because the discordance,
of which we have spoken as resulting from a succession of perfect fifths, does not occur in the present
The old authors, however, have generally
case.
avoided this license in counterpoint in only two
parts ; and it is only in composition for several
parts, that they have employed it in one or other of
the middle parts, to escape from some embarrassing"
progression.

RULE

VI.

All progressions ought to be natural or diaas far as melody is concerned

and conjunct
movements agree better with the style of strict
counterpoint than disjunct progressions.
Hence,
progressions of a major and a minor' second, a
7najor and minor third, a pe7'fect fourth, a j^Grfect
fifth, of a mi7ior si^cth, and of an octave, are allowed
both in ascending and descending. Skips of a suferfuous fourth or tritonus, of an imperfect fifth,
of a major and minor seventh, are expressly prohibited both in ascendino' and descendino-.
tonic,

the

Remark. This is a prudent rule and the ancient masters had

more reason for conforming themselves to it, as they wrote for
;

voices only, without accompaniments.

They thus obtained a flowing and correct melody, which the intervals and progressions disallowed would have rendered difficult as to intonation.
However,
at the present day, this rule is not

positions.

much

regarded in modern com-

12

As to the progressions which ought to be used

with regard to one part as compared with another,
contrary movement, as we have ah'eady said, ought
to be preferred to oblique^ and this latter to direct.
Indeed this last kind of movement ouscht to be used
for even, in observing all the rules
very sparingly
which have been laid down to avoid the inconveniences which result from it, if we were to employ
it much, we should fall into another inconvenience,
which, though not against those rules, would be contrary to taste, style, and to the necessary variety of
concords since, by this movement, we should continually have a long series of thirds or sixths, which
;

would become puerile and monotonous.

~7
'^

o
l__Q -e

|0

^ -^
i^

Q|

ol

''

>

r-^

Ex.

-V<--L2|
1

>i
1

**
L-Oi
1

r'\'
p t
(~i

6ths

^^
<"

'

5^

^-^
1

r->

',

^^
'^i

'

[-

c>

'

^
M
I

f *

^ ^
M

"-^

'

l-l

WTir^^^ri^

This example every where presents the same

concords, the same movements, and, consequently,
always produces the same effect.
Remark.

We

may employ

sixths,

but not more

defects

above explained.

in succession three thirds or three

beyond

this

RULE

We

number, we

shall fall into the

VII.

must always avoid, between the parts, the

and that of the tritojius.
These two relations are extremely harsh to the ear,
particularly that of the octave.
false relation of the octave

13

Remarks. Relation implies the immediate ratio which two

sounds, either successive or simultaneous, have to each other.
This relation is considered according to the nature of the interval
formed by the two sounds so that the relation is correct when the
;

interval
either

is

correct

in excess

it

is

false

or diminution.

when

there occurs an alteration

Among

false relations, we only

reckon as such, in harmony, those in which the two sounds cannot
both properly belong to the key in which we are. The diminished
or superfluous octave is a false relation, both in melody and in

We

may attenuate the disagreeable effect which it produces, but not destroy it entirely.
Consequently, the following
progression is prohibited in melody.
harmony.

FALSE RELATIONS.
Diminished 8ve.

Superfluous 8ve.

as:

4fo

In harmony, the introduction of these octaves, struck simultaneously and held for some time, is impracticable.

)2s:
-^9-

Some

:#o:

^e-

composers, however, do not hesitate to use them in the

following manner.

^E^
ffi

32;e

I
-

C flat and C sharp only as tranand as short notes struck on the weaker
This is a bold sort of Kcense,
or unaccented parts of the bar.
however, and one which can only be allowed in a very free style of
composition, but wliicli ought to be rejected in strict counterpoint.
Another case exists, however, in which we may risk the false relait is
tion of the octave in harmony, between two different chords
In this case they consider the

sient chromatic alterations,

this

14

EXAMPLE

EXAMPLE

I.

False relation of dim. Svi

False relation of superfl. 8ve.

'
<

lo:

hzq:

n.

ffi z?2s:

>

tJi
:fl^

ip

The C natural in Ex. T, placed in tlie upper part of the first

chord, is discordant with the C sharp placed in the lower part of
If on this subject we consult the ear, we must
the second chord.
acknowledge that nothing in this case can destroy the impression
which the ear has received from the C natural; because it still remains, even at the moment when the sound of C sharp strikes
upen it, and thus produces nearly the same effect as if those
sounds were heard simultaneously. If we consult reason in its
turn, we shall come to the conclusion that the discordance of these
two sounds is derived from their want of coherence, and from the
since C natural and C
false relation which exists between them
sharp belong to two different keys, and the chords in which they
are separately included cannot succeed one another, arranged as
they are here arranged, unless other intermediate and relative
chords, by connecting them together, cause the false relation to
disappear.
What I have just said with respect to the first example
may equally be applied to Ex. II.
To render the effect less harsh in the succession of these two
chords, since it is impossible to destroy it altogether, we must endeavour to find some means of weakening it without employing
other chords.
The means is simple we must so manage that the
part which sounded C natural shall also sound the C when chromatically altered by the sharp or flat.
;

EXAMPLES.

=^3=1^

-*^-K-^.

f|i=o:

or else

at

<

< >r

(1

:tt^

hrjr

:tf^2=:

'-^
or else

^iseeEeS
n'

\rri

bo

15

Bj these simple means, and other obvious expedients, we shall

succeed in weakening, and, in some measure, of destroying the unpleasant effect of this false relation because the ear, not being now
so immediately wounded as in the original progression, will, by de;

become accustomed

grees,

relation.

we

point,

to receive the impression of the false

however, in our studies of strict modern counterought to avoid tliis chromatic progression as much as
Still,

possible.

The

always a false relation in melody besides that,

a progression expressly prohibited.
(See Rule VI.)
This interval also produces a false relation in harmony, particularly when introduced into the first species of counterpoint in
two parts, when the parts are so disposed that this interval is perceptible and undisguised.
This interval is perceptible in the case where the two sounds
of which it is composed are heard one ai'ter the other in the two
parts, and when the chords which contain them cannot belong to
the same key, either by their nature or because of the manner in
wluch they follow one another.
tritomts is

as a skip,

it is

EXAMPLE.
.Q.

Tzr

-^

The same.

Relation of Tritonus.

ffi

We

_Ci-

-o-

:cr

-^-

crt

-C7-

must endeavour

The same.

-^

1?-

to avoid these kinds of relations, particu-

or, if we cannot altogether

avoid them, at least we must try to mask them, by so disposing
the part which contains the counterpoint that one of the two sounds
which form the tritonus shall be suppressed and this, whether we
change the harmony or preserve the same chords.

larly in counterpoint for

two voices only

EXAMPLES.
-

"CT"

o o-

"cr

T7

I^
azs:
SI

-^-

;i

o-

-o-c3-H-r->-e-

ii

ozszDZo:
^e

-nozdz^lzs

r->-

-^-?-s-

-^-

'Cl

jzozo:

CJ-

zrr.

e-o- j-e-o /

16
By die assistance of these corrections, the false rehition is iu
part or altogether eclipsed.
In the other species of counterpoints,
as we shall see, it is still more easy than in this to avoid the false
relation of the tritonns.
to demonstrate how and why the tritonus is a
harmony. What I am about to say applies
equally to counterpoint in two or in several parts and I insert the
demonstration here, that I may not again be obliged to speak of it
It

false

now remains

relation

in

much detail.
To explain the cause of this false relation, I shall take the
major common chord of G, and cause that of F major to immediwith so

ately follow

it.

-^-

_QTiitonus

.<~>.

-3-

Tiie succession of these two chords instantly gives birth to the

false relation of the tritonus.
1st. Because the first chord, supposing that it is considered as
belonging to the key of C, naturally tends to proceed to the tonic,
or to A, its relative minor, and not to the subdominant.
2ndly.
Supposing, on the other hand, that this same chord
belongs to the key of G, the chord of F natural, which loUows it,
becomes altogether foreign to it, because the F ought to be sharp,
in order that any analogy may exist between these two chords
besides that the F, if it were sharp, ought naturally to carry a
chord of the sixth, if taken as a bass note.
3rdly.
For the same reason, if we should consider the second
chord as belonging either to the key of C, or to that of F, on the
first hypothesis it would require to be followed and not preceded by
and, in the second case, the B natural, in the
the chord of
chord of G, necessarily and evidently becomes foreign to it for,
by analogy, the B ought to be flat. Thus, therefore, the F and B,
being in open contradiction to one another, and through one an;

other, the relation

which

results is false.

successions of chords, of which one includes

F natural, and the other B natural, or vice versa, will undoubtedly
introduce the false relation of the tritonus.
shall give a series
of chords which always produce this relation, and which, therefore,
produce a very harsh effect upon the ear.

Consequently,

all

We

17

ozxi
W

'^-

-ej-

-^-

--R
TT
i

;1

RULE

VIII.

Except in the first and last bars, we ought, in

the course of the composition, to employ as much
as possible imperfect concords, rather than perfect.
The drift of this rule is to produce harmony rather
by the means of imperfect concords, which are more
harmonious than the others. Still, however, many
imperfect concords of the same sort would plunge
us into the abuse which I have hinted at in Rule VI.
must therefore learn to intermix with taste and
discernment both perfect and imperfect concords,
in order to give sufficient harmony to the counter-

We

Example

point.

.-

:s:

Ci.

-t9-

^.'i
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(^

(~^

>

<

.C>
Subject.

-0_
6

'nr~^-

-^^

3
5
3
-Q
r-r:i-Q-

^
3

"rx

-^
6

>

18
Subject.
\J

r>
6

8
'

7L
ftn

%_"

=^C

<.

-CJ

).

>

-G3

c:>

C?"

P=^-JzSo: -CX__e
3

-O -O-

.^-ta.

tl

"TT"

3
-t3-

These examples are conformable

to the rules of
counterpoint of the first species. The imperfect concords are employed with the requisite
variety, and more frequently than the perfect conThe direct, contrary, and oblique motions
cords.
the false relation of the
are properly managed
tritonus is avoided, and the melody always proceeds
diatonically, and with facility and elegance.
strict

lu

order to reduce to practice all the rules which

down, the pupil will receive from his teacher a Melody
or Subject, which he will place first in the hass, and on which he
will then compose as many different melodies as he can
sometimes writing for a Soprano voice, sometimes for a Contralto or a
Tenor*.
He will then place the same subject in the upper part,
and compose several different bases to it.
The melody which the piipil receives from his teacher is sometimes called a plain chant, or Canto firmo ; the part written by the

Remarks.

we have

laid

called the Counterpoint.

the end of this Treatise will be found various suhfects, suited
to all the different species, which will afford the student the means
of employing all the resources of Counterpoint.

pupil

is

At

In placing the (/iven subject in the upper part, the pupil must
employ that species of voice which is best adapted to it, and sometimes he will be obliged to transpose the subject into some other

Those who are miacquainted with the compass of the

may

dif-

consult the Translator's Catechism on Singinj,

published by Messrs. CoCKS AND Co.

ferent voices,

19
key, if he wislies to use all the different kiuds of voices without
exceeding their natural compass.

The two last bars of the subject ought always to proceed from
the second note of the scale or key to the key-note itself
For
example, in the key of C, the two last notes must stand thus
:

Tzr

In the last bar but one, the part which forms the Counterpoiut
sixth, and the last note itself the octave,
if the subject be in the bass
but, if it be placed in the upper part,
the last bar but one of the Counterpoint must be a minor third,
and the last bar itself the octave. For example

must always be the major

Counter-

I
^

point.

Given subject
placed

the

in

upper part.

Subject
given.

Si:

Beforc

"CX

Counterpoint.

xz:

conclude the

31:

-^

Tzr

species of Counter-

first

add a few words respecting modulations;

observations on this subject will equally

point, I will

and

my

apply to every sort of strict Counterpoint.

In any piece we must only modulate into such
keys as coincide as to their tonics with the notes of
the scale belonging; to our primitive or principal
key.

Let us first suppose that the original key is C

major we can only modulate in G major, into A,
the relative minor, into F major, and into D minor;
and even then the key of F must be touched upon
in a merely transient manner, because it weakens
the impression of the principal key on account of
the B[,, which destroys the leading note the key of
D minor must be treated like that of F, and for the
same, or even stronger reasons, because it destroys
the tonic by introducing the Cf the leading note of
this new key. We may also modulate into E minor,
but only in a still more transient manner than into the
two former keys, because of the Fff and D#, which it
intiv^duces.
The key of B is prohibited, because
;

the ifth

is

not perfect.
c 2

20
Let us now suppose the key to be

minor, the

relative to C.

We

may first modulate C major,

keys of F major and D minor in a

touching the
cursory and
E
minor
may
be dwelt
that
of
manner
transient
proscribed
in
this
key, for
B
is
of
upon. The key
of
key
C.
in
the
as
reasons
the same
All these modulations are analogous to the prinPractice and study will soon furnish us
cipal key.
introducing these different keys in a
of
means
the
manner.
pleasing
and
rational
;

CHAPTER

III.

SECOND SPECIES-TyfO NOTES AGAINST ONE.

RULE

I.

In this species of Counterpoint we must write

two minims to each semibreve of the subject, except
in the last bar, where we must always place a semibreve against a semibreve.
The first time or part of the bar which is filled
by a minim, is called a strong or accented time;
and the second time, also occupied by another minim,

is

called a iveak or unaccented time.

Strona; time.

Weak

-G>-

31

time.

21

RULE

II.

The st7'07ig time must be a concord there are,

however, cases in which we may manage differently;
that is to say, in which we may use a discord on the
strong time ; but this license is allowed only in
cases of difficulty, either to avoid a disjointed style
of melody, or to parry some other inconvenience.
The weak time may contain a concord, or even a
discord, provided this latter is placed between two
concords, and that the melody be at the same time
diatonic.
In this case the discords are called passing or transient.
;

EXAMPLES.
Note against

Two

note.

notes to one.

-^

-e^

-^_

Concord.

Discord.

Concord.

-^-

S-

.S

Concord.

Note against

T/

11
|i

<

rr>

Two

note.

c-Ci>

\-\)

Discord.

ll

fj

notes to one.

^^
1

_.

Concord.

'-A

E
1

rj

f--

-^

-ror

TX

ll


22

-^

Note against

jy
J\
rh
lU;

~o'
Discord.

Two

note.

'

:^
Concord.

^-

-3Concord.

notes to one.

c^

f~)

<->

*^^

5t

Concord.

Con.

Dis.

Con.

-^-

-^

xz

-e^-

lo:
Concord.

Discord.

Dis.

Concord.

Try

.3

-^

-^RULE

III.

The strong or accented times are not, in this

species, subjected to the fourth rule of the first species, provided always that the said rule is corrected
by the weak time.
1st.

That

the

I will explain myself.

weak times contain another

concord.
2dly. That we proceed from the stronij; to the
weak time by an interval greater than a third.
3dly. And, lastly, that we pass from the strong
time to the following weak time in contrary motion.

EXPERIMENTAL EXAMPLES.
Let US now see whether, by observing the prescribed conditions, we can save several consecutive filths.

'

23
Error according

V-

to the fourth rule of the

c~^

rst species.

fi

r5
*

<^>

jj

1
'
'

ri>
\M./

According to the conditions of the present

rule,

we can

only arrange the melody

thus

'C5

-^

Unison.

Unison.

-^-

-^-

For

-^r

-^

this

way

is

-CJL.

forbidden

-^-

Jd

'J

-^-

[.

From these two examples it follows, that the fifths are not saved,
because, in the first trial, the unison which occurs on the weak
times, from its absolute nullity, cannot either diminish or destroy
the effect of the fifth which precedes it, nor of that which follows
it
secondly, because, in the second experiment, the interval of a
third, which occurs l)etween the strong and weak times, is too
small to operate the desired effect.
There is a means by which, according to the rule, we may
save several consecutive fifths, it is thus
;

-o"-

-Xi-

1 1
1
1
1J

24
But tliis way is harsli and liazardons lor, betweeu tlie first
strong time and the second weak time, tliere occu.rs a skip in the
melody forbidden by Rule VI of the first species. This expedient
is therefore only fit to save two consecutive fifths at the most, and
no more and even then we must select the cases in which neither
the melody nor harmony is contrary to any prescribed rule.
Let us now examine whether, by favour of the conditions
prescribed, we can save several octaves in succession.
;

TRIALS.
Fault according to Rule

IV

-^
According

of the

to the first rule,

we cannot employ

CDr-

way, however,

all

:zx

this

means

for the purpose

3:

-^
this

species.

Tjr

In

first

-^-

Ci_-

Tzr
the conditions are fulfilled, and the octaves are saved,

at least according to the rule.

-^

_^_

-^

XT"

however, this way is not altogether exempt from rebecause, to save several octaves, we introduce two fifths
in the weak times which follow them
and, though wdiat is placed
on a weak time is not scanned with much rigour, yet the two
fifths which occvir there are not the less sensible to the ear.
The following examples are better, because they do not offer
a similar inconvenience, nor do they compensate lor one fault by
introducing another.
Still,

proach

25

-Ol-

O6

BI

"0~
-^-

a:

^
I

-^

-^-

~r3~

-o-

-^

~ry

a:

CD

:c^

this way of avoiding either

or two consecutive octaves, in two-part Counconsidered reprehensible by the ancient masters. I

shall nevertheless observe, that

two consecutive
terpoint,

was

fifths,

of the same opinion, and think that when two succesive strong
times are occupied by two fifths or two octaves, no intermediate
note placed on the weak time will totally destroy the impression
produced by these two fifths or octaves at least unless the movement be very slow for then, each time being taken as an entire
bar, the weak times may be accounted by the feelings as so many

am

This reasoning, however, is merely specious, and

strong times.
ought not to be made into a law.
I conclude, therefore, that the present rule can only be employed when we compose in more than two parts, or, at least, that
we must but seldom have recourse to it in this species, and then
merely to escape from some still greater embarrassment.
I have introduced these remarks and experiments with regard

and two octaves, less to prove by my examples that

saved in some positive way, than to demonstrate the
weakness of this rule, which I consider as merely foisted among the

to

two

they

fifths

may be

strict rules of the

Notwithstanding this
ancient classical authors.
it may occasionally prove of some utility.

imperfection, however,

RULE

IV.

In Counterpoint of the present species,

we may

either have one chord in each bar, or we may inConsequently, when we have only
troduce two.
each minim forms a different
though
one chord,
to the same chord.
belong
both
yet
concord,

26

^^

-^-

I
And

in the case of two chords in one bar, the

time will be occupied by a consonance belonfrino- to one chord, and the weak time, in turn,
by a consonance belonging to a different chord.

strong-

'^

--^r

-^-e^

_Ci_

-CiL.

-^5-

RULE V.
With two notes against one, it is easy to avoid
the false relation of the Tritonus, and this facility
arises from the power of distributing the bar into
two different chords.
EXAMPLE.
->-

-^r

^bfd

Mariner of

False relation.

avoidinsj; it

-^

ffi
I

The chord of the 3, placed between the common chords of E and F, suffices to destroy the false
The following example offers a similar
relationmeans of avoiding the same thing
iio:

-^-

False relation.

^^

iq:

Manner

of

avoidinsj

it

-e>-

27
RULE

VI.

In this species, whether the counterpoint be

placed in the upper part or in the lower part, we
may, in lieu of the stront^ time of the first bar,
place a minim rest, provided that the weak time is
a perfect concord.
-^.-

-^

-tzi

-e>Subject.

f-f-

ffr^
Iv

CJ

tJ

>

-^

''^'
/

(^>

'*~~^!

1
*

r-

1
1

'

This way is considered as more elegant than

both parts were to begin at the same time.
RULE

if

VII.

In the first species, the skip of a minor sixth is

allowed ; in this second species it should only be
used when the parts, by the nature and elevation of
the given subject, come too close together; and
we find ourselves embarrassed to separate them
otherwise than by this skip. In such cases we are
allowed, as in the first species, to cross the parts
that is, to cause one part to pass above or below
another.
All other progressions allowed in the first species
are so likewise in the present species.
Remark.

Here the skip of a minor

prohibited, because this interval, being

sixth is in

more

some degree

difficult in respect to

intonation than any other allowed interval, particularly in ascending, it becomes still more so in this species, where the notes

28
arc of shorter

tliiratioii,

and

tlie

time given to prepare for

tlie

intona-

tion is less than in notes of greater lengtli.

RULE

VIII.

When

the given subject is in the lower part,

and it terminates by the second note of the
C in the
scale descending to the key-note (as
the
last
of
bar
but one
key of C), the Counterpoint
ought, as often as possible, to be a fifth on the
STRONG TIME, and a major sixth on the weak

TIME.
EXAMPLE.
_Ql

-^'-

"cr

And when

the given subject

is

placed in the

upper part, the Counterpoint, if possible, ought to

contain a fifth 'on the strong time, and a third
on the WEAK time.
EXAMPLE.

III

-]t-

Z^--

tCS
ILi
iJ

11

5
'">
''-'

II
II

<

>,
1

'

II
1
1
1

This rule is a corollary of what was said with

respect to the two last bars of a given subject, in the
remarks placed at the end of the first species of
Counterpoint.

Remarks. All the other rules of the first species which can
be applied to the present species, are retained in all their rigour.
It is therefore unnecessary to repeat them; and I leave to the pupil
the task of consulting them, or of discovering, by the experience
which he has already acquired, the cases in which these rules may
serve him as a eruide.

29

We

add an example of a lesson on this second species,

may see at one glance in what manner he must

shall

that the student

proceed.

-^

-63

7-r

-Qi

Subject.

S^

>

-^-

J>

^:^\

qI

-Gh-

^7

r^

-^-

-^

Ci.

,1

''"^*

ist:

1 S-8^

-^>:h

r-)'

^-

g>

-^
-Ci-

Subject.

-^

ie
"O"

^E

-^

-^

>

iS:

:^ i

C).

-^-

S=E^i=
Xi
-i

-^

"CT

-^1

:^^^

30

.o_

B-

-^

-Or

:o:

a:

first example we maj remark, tliat at the place where

a ^, instead of a discord being placed on the weak time,
according to Rule 1 1, it is placed on the strong time. As I have
observed that we might occasionally emploj this means, 1 have
expressly done so here by way of giving an example of this license.
I could ha\'e managed otherwise
but, by placing the discord on
the strong time, I obtain a more natural and elegant melody
and
this is one of the reasons which justify the contravention of the
rule.
In practising, the pupil will meet with other cases where
this license may be introduced.
By reflecting on these examples,
we shall perceive in what manner a Counterpoint must proceed,
that all the rules may be observed, and that the melody may be
flowing, and in the style proper to this kind of composition.
111

there

the

is

CHAPTER

IV.

THIRD SPECIES ^OVn NOTES TO EACH SEMIBREVE.

RULE

I.

In this species of Comiterpoint, each of the two

times of the bar, the strong as well as the weak, are
divided into two crotchets.
To conform to the style of the ancient composers,

we must employ

diatonic

progressions in

this Comiterpoint, in preference to skips.

RULE

The

IL

crotchet of each strong time must

the second, third, and fourth
crotchets may alternately be either consonant or
dissonant, provided that each discord is placed
between two concords, and that the melody proceeds diatonically, cither in ascending or descendfirst

always be a concord

in o-.

^
31
EXAMPLES.

=g=^
5

3;

zx

-^

=^=F

i^:

:^

P^=d=i==o
:^zzt=i

3(J34

f^=^zzfzzp

6786

i e>-

l^:
:^

_o:
3

^-

13

-^>-

ii

-^
_Ci_

8
1-

Tzr

-SZI-

T^n^
-^

^TT-

ZX

,=^=:^:

32

^
5

13

:i=zi;

r^

-tr

If we examine these examples, we shall meet with

the unison twice this at first appears an error but
in this species the unison is permitted, because of
the small value of the notes, except, however, at
the beffinnino; of the bar.
:

SUPPLEMENTARY DIGRESSION.

When the second crotchet of the first time, or even of either

time, is dissonant, the ancient contrapuntists sometimes passed to
a concord by a skip of a

third,

ascending or descending.

EXAMPLES.

:P=^

8750

3465

()

-^^-

->-

ncr

)=:^z=^-3

&

o"

Jr
(C\
\>)

ir->-

TT
4

*-*

-ri

EE
3

_Ci_

ai=^:
3

-e>-

.Jt=>_

..

^H

,*l

*!

3
III

-oT=y
13

u
33

:^=

^-^

:t

-^-

-e^-

3
6

^j-

^-^ ^

-^

From

the multiplied exceptions to the rule, which we meet

the ancient classical authors, and the frequent use which they
have made of them, we might be led to think that we were at
liberty to convert this license into a precept.
But of what use

with

ill

rule, if we were to admit an exception which

destroys it ?
I should say, therefore, that such a license ought
neither to be admitted nor even tolerated in strict counterpoint.
I
was desirous of placing under the eyes of pupils these different
passages of the old composers, that they might know what to think,
when, on examining the classical writers, they should meet with
No tradition has
passages in which this license is introduced.
transmitted to us the reason why those authors have flown into the

would be the present

face of the rule in so hcentious a manner.

Nor can

imagine

why, instead of writing thus,

^
r

ri^-

/L
\:L
ff>

'

(^

<T

tJ
-

\J
^

^^
V

II
11
11

'

r^

nJ
y

did not, in conformity to the rule, rather vrite thus

s

-J
yr
fr^
\:2

^
p

...

....

r
'

**

'^

my

L^:

_j...

()

&

H
H

LJ

34
or, in the following case,

-^
write

tlitis

JL

frn
lU;

9!

El
HI

-o^

In the last example, there are two consecutive discords, which

but, in certain cases, we are allowed to
contrary to the rule
proceed thus, provided that these discords follow each other diaindeed, we sometimes meet with cases in which we
tonically
To retiirn to
are compelled to employ two consecutive discords.
what I have said above, I see no reason which can serve as an excuse to the classical authors for having employed discords by skip,
and that,
except that it was in order to obtain more variety
taking into consideration the short duration of these crotchets, they
allowed themselves to skip from the discord by an interval of a
third, which is the smallest skip after that of a second, and, consequently, the most easy in regard to intonation.
is

RULE

III.

Neither one crotchet, nor two, nor, sometimes,

even three crotchets, in two-part counterpoint, will
save two fifths or two octaves, even though we, in
certain cases, employ contrary movement, and a
skip greater than a third.

F
35
EXAMPLES OF ONE CROTCHET.
8

izi^ntzizi^- I

t^jLi^z:

:j=:^-^-r-

Wrong.

i.

Wrong.

-^-

"O"

EXAMPLE OF TWO CROTCHETS.

8

q=i=:^'

q--dz:izzii'
z-^^.

litut

3t:i:

li:

^=3^:
5

Wrong.

Wrong.

g
EXAMPLE OF THREE CROTCHETS.
i-H

aEE^E3^a?^Ef
-)

ol

f-

-i

S
1

I*

Wrong.

O-

-^5-

RULE

IV.

If, in the preceding species of counterpoint in

two parts, we have forbidden the skip of a major
sixth or even of a minor sixth, and those of a tritonus
and false fifth they are still more strictly prohibited
in the present species, because of the short duration
of the notes, and the little time which is allovved to
the voice to prepare and seize the intonation of
;

such

difficult intervals.

We

must also avoid, as difficult in point of intonation, and disagreeable to the ear, the interval
D 2

36
of a tritonus, even when we pass to it by fillinc^ it
with notes in a diatonic prog-ression, either in
ascendino- or descendinir.
lip

EXAMPLES.
Tritonus.

:q=
"-^

Harsh.

-^

Tritonus.

=^=^

atzii

Harsh.

_Q_

-CU-

Tritonus.

:^-

^^'

Harsh.

-^-

CT"

-^
yn
iTv

fo
V/

Tritonus.

Tritonus.

,
1

'

xx

-^-

-Ci.

The harshness of these passages arises from the

always occurring as the
circumstance of B and
extreme notes at the top or bottom of the melody

37
as these extreme sounds are more ap])reciate(l by
the ear than the intermediate notes, it follows that,
in the cases we have exhibited, the ear is sensible of
the harshness of the tritonus, which the intermediate notes can neither totally efface nor even essentially attenuate.
There are cases in which the tritonus, ascending
or descendins; by degrees, may be used without producing- the inconveniences which the former examples display. These are when the two notes which
form the interval of the tritonus do not occur at
the extreme points of the melody, and are therefore
contained in a series of diatonic notes.

EXAMPLE.
Tritonus.

a::

,rt:^=d==l=q:

:t=:

Not harsh.

^-

XT"

Tritonus.

-Q-

-e>-

T3'

In these two examples, we find that the tritonus

hidden between two sounds of a very melodious effect, and that by this means the disagreeable impression which it produces, is much less peris

ceptible, if

it is

not altogether effaced.

38
RULE V
In this species of counterpoint we may, as in
the preceding species, employ a rest in the first bar
of the part which contains the counterpoint this
rest must not be h)nger than that of a crotchet, and
the note which follows it must be a concord.
;

EXAMPLE.

IE

^-

ffi

.Ci.

-^

-^

RULE

VI.

In the last bar but one, the first crotchet of the

counterpoint ought as often as possible to be a third.
If the counterpoint is in the upper part, it will ascend by degrees to the octave in the last bar and,
if the counterpoint is in the lower part, it will descend an interval of a third, and then ascend by
degrees to the octave or unison in the last bar.
;

EXAMPLE.
P'\

^-d1-^- -^1

"O

i.

^
1

-j-5-

c >

1*
-2i^
'

J-J-^

1
\

r r

_L

UL
r

'

IS


59
This rule

not absolutely indispensable, and

otherwise, when the given subject
so constructed as not to lend itself to this aris

we may manage
is

rangement.

By way of conclusion, I shall give an example

of four crotchets against one semibreve.

<

^^

r~^ 3

^-

ffi

_Ci_

Subject.

:^i=J^

fJ

~~
I

~i

-^-

s:^-

-I*-

ITX

^- -^^

=f=^-

wTP-

:i=^
-^-

-^

-^

'

40
^

Subject.

t*
^

f(\

VW

g3

"~

'

f^T

-^

^fr

.ex.

p-Jft-

tEfE&.

-3-

ilz=zt=

~p
>

>

*^:^

-^

w-fT

-^
^^p^
1

,1

^*

r?'*
VI

1
t

>

"\'
>/^

-^-

C_J

c/

1*
1

J"
*

1
I

.,

J _i

1
1

CHAPTER V
FOURTH SPCJS SYNCOPATION.
RULE

I.

This species of counterpoint admits of only two

to one semi breve.
A semibreve is said to

minims

41

be used by syncopation when the first half of it

occurs on the unaccented or weak time of one bar,
and the latter half on the strong time of the following bar.
EXAMPLE.
-&-

-^-

-^
-O"

or, Avhich is the

'n
4=

same.

r^
]

c^

'

-^

--^

Idem.

Syncopation.

-^-

RULE

II.

The syncopated note ought always to be a concord on the weak time, and on the strong time it may,
If the
at will, be either a concord or a discord.
cause
liberty
to
at
we
are
strong time is a concord,

the melody to proceed either diatonically or by a

skip.

EXAMPLES OF CONSONANT SYNCOPATIONS.

1X2

-^

xy

-^ ^^

jc^:

42

/5

^6

-3-

-Q-

-^-

_Q_

-^

-^-

-c^
r^s

If the strong time is a discord, the melody must

descend one degree to a concord, and no otherwise.
This is called resolving the discord, as the student
must already know, if he has gone through a course
of harmony.

iZi

i
w-

Ci

ozz~r:>;

7.

-^

-^

3
6

C>-

-i_i-

RULE

III.

The discords on the strong times must be prepared by a concord, and, in like manner, resolved
by another concord.

n;

t=^

Concord

as

a preparation.

Discord.

Concord

as

a resolution.

x.>

43
a series of dissonant syncopations on the
concord of resolution naturally
becomes the concord of preparation to the discord
111

stront^ times, the

which follows.

^E5
Preparation.

tJ

-^,-

Dis. Resolution. Dis.

Preparation.

xz
Resolution. Dis.
Preparation.

-^

Tjr

Resolution.

~m-

These discords are merely suspensions of the

concords since, by omitting the dissonance in each
bar of the preceding example, the progression becomes a mere succession of concords.
;

-Ci_
-Ci-

-^

We

therefore

-Tor

know immediately, by

on what concord a discord must

quently,

-CJL

we are not allowed

this

resolve.

means,
Conse-

to introduce a series of

seconds resolved by the unison, nor a series of ninths

resolved by the octave.
Unison.

-^

-^

-^^-

Tzr

"O"

44
or

-e?-

a^

-cj-

For, if we take away the discord in each bar of

these two examples, we shall obtain from the first a
succession of unisons, and from the second, a series
of octaves.
Unison.

-^

tJ

-^

-C5"

O"

-^
~r>

-^-

Tp-

"cr

The same prohibition applies when the counterpoint is situated in the bottom part, in regard to
these same sequences.
As a consequence of this precept, we cannot
employ a sequence of discords like those in the following example

31

-^r

-4-

-^
:sL

-cv

45

9
5

-^

3:_

^i=^

-^r

For,b5^ omitting; the syncopations, we shall have a

forbidden sequence of concords.

-^-

.ex.
5

SEE^

-^-

-Ci-

Even without using

-^-

discords,

we may incur the

risk of introducing a succession of octaves, or con-

secutive

fifths.

EXAMPLES.

jCI

-\=r-

CJu

-Q_

9-

->

XX

31

m
r^

.m

^L-

-^-

e^

"O-

o^

-^

TZJ-

-^-

:^=

-e>~

46

^
-^-

mi

El

-Ci

5 ^s^ 3

C/

<-.

LJ

-=E5

:^P
5

-^

By omitting the syncopations, we shall soon be

convinced that the preceding examples are faulty.

jd.

:^:

-^

or

-^

"CJ"

-)-

_^_

CT-

"O"

We
not

-e>-

Tp-

XX

-^-

-^

-^-

sec therefore, that, to ascertain whether or

fulfilled all the laws prescribed in this

we have

47
without

species,
errors,

committing

any,

even

triflinc,

we have only

each har, and

to leave out the syncopation

examine the result.

RULE

IV.

In two-part counterpoint of the present species,

as often as possible, to avoid employing
the discords of the fourth and ninth.
should
give the preference to that of the seventh, when the
counterpoint is in the upper part, and to the dissonance of the second, when the counterpoint is in
the lower part.

we ought,

We

RULE

V.

Syncopation ought to be introduced into every

If, however, the observance of this rule should
cause the melody to become too low or too acute in
bar.

pitch for the compass of the voice to Avhich it is

destined
or if it should lead to the immediate repetition of the same or similar phrases, or be productive of embarrassing passages ; it will be better
to interrupt the syncopation for one, or, at most, two
bars.
This expedient, however, must not be resorted to, till we have, in vain, tried all the possible
ways of syncopating.
;

RULE VL
In this species, in the last bar but one, we ought
make a point of using the syncopation of the
seventh, when the counterpoint is in the upper part,

to

and the syncopation of the second,

the bottom part.

when

it is

in

48

_t-J-

-&r

W
-^

-e^

Subject.

or
Subject.

-^

XT"

-4.

35

RULE

VII.

imitation of the counterpoint of two minims

we may, in the present species,
introduce a minim rest in the first bar, before the
Ill

to one semibreve,

counterpoint commences.

EXAMPLE OF A LESSON ON THE PRESENT

^;^:^

pE^f

-Qr -e>,

M -^t

SPECIES.

r^

-^,

Subject.

tizz*

-^

-e^

_CJ_

zxx

H M

-ca-

k=^^p="E3

-3^

^
3

_!1

-e)-

XX

-^

^
49

1^^^^^
^

Q^

r?'

^t=^

-V

/
ff>
vw

-^-

Q_

T2Z.

<*

r>

-o-

f~>

->

< >

-..

-Oi

jJlly m

*-^

-Or

TT-Qgigp: :^

-C2

-Ci

-Ci.

-^>-

/^
^r-r^r
azE^EEES

-o-

-^
-f-y^

-^ ^r
l:

rx

3z^
-^-

-&,

"or

15

o:

-^

-- -^r
"C5z:i"cr

CHAPTER

1
< >

r>^-

VI.

COUNTERPOINT IN TWO PARTS.

FIFTH

SPECIE&~FI.OUlJ) COUNTERPOINT.

This species
cedino- species,

is

compound of

employed
E

the four prealternately in the part

50
which contains the counterpoint, and diversified by
adding- to the figures of melody already allowed,
quavers and dotted minims.

RULE

I.

Quavers, when introduced into this species, ought

To
to proceed diatonically rather than by skips.
we
composers,
ancient
the
style
of
to
the
adhere
in
one
any
quavers
two
more
than
write
not
must
These quavers ought never to occur in the
bar.
first half of a time, but only in the second.

EXAMPLES.

1^^'

33^

rx

r:>

:Sti=^

If we introduce four quavers into one bar, they

must be distributed in the last two moieties of each
time, and not immediately succeed one another.

1^

^^^- "Cq:
and not^

-C3

In general, we must employ quavers with soand not introduce them too often, or else
the counterpoint will become too skipping and
restless, and be altogether unsuitable to this kind of
composition.
In other respects, quavers are subject to the
same laws as crotchets, as far as regards passing
notes or discords of transition.
shall see, further
on, how they must be treated in respect to prepared
briety,

We

discords.

51

RULE

II.

We must introduce all possible elegance in the

melody, without, however, departing from that severe character which, as we have said, belongs to
strict counterpoint.
It will not be out of place to
recall here to the student, that contrary and oblique
motion, and consequently syncopations, are the best
means that he can resort to, for the purpose of imparting elegance to florid counterpoint.
It is also
essential to observe that, in employing all the allowed figures of melody, we must intermix them
M ith address, in order to avoid the too frequent recurrence of the same forms.
RULE

III.

The

dot serves as a diminution to the semibreve,

first changes it into a dotted minim, and
then into a crotchet or two quavers.

since

it

EXAMPLES.
Simple form.

First diminution or variation.

Second diminution or variation.

TJ-

-CL.

w
These kinds of variations may also take place
by this means, diminish the duration of the discords.
Such diminutions impart

in syncopations, and,

much grace

to the melody.

EXAMPLES.
Simple form.

Variation

XX -^
7

=?^=^i o.

-O"

Variation

I.

-^

"o-

E 2

C> - ' ^

-^-

II.

"cr

-^


52
Variation

Variation IV.

III.

:p=r

m^

.m.

--^-w

-9t

tr

-^
Variation

Simple form.

m^s
^
7

fe

Variation

I.

--

i^iqcn:

Variation

IT.

:S^5=^

III.

^^eS

iEi

7
I

- c^_^-_

'

:^zi-Jzo

II

Vc^
J
O
<

Variation VI.

i^

T^r

-**iiH

ZX

-^

RULE

Or^-F

7
1 1

Variation V.

Variation IV.

XX -^-

l-^^-r
"
'-3

7
1

-^-

IV.

Counterpoint of this species is, as far as regards

the last bar but one, subjected to the same laws as
the preceding species ; we must therefore consult
the sixth rule of syncopation, in which mention
is also made of the first bar, which must be treated
in a similar manner in florid counterpoint.
EXAMPLES.

-Gh

cT"

^^5

1^

x^

-jn

Subject.

-^

-Cil

53

8F^=

:t=^.

'^r-Mi=^-

-k-

-^

--

_Ci_

3=Ry i"^^"^ ^^=p=M=

-e>r-

at:

J^

'cr

-^

^ ^

an:
'

<k|l

.<.:>

^^__l

7T

u
!^_

-^
-^-^

ea

:z%z

-^-

-C3-

Subject.
"jfT

-^-

^3:

1__

-o-

-^>-

!^

-^

s=e
:^=i3=3
ffiE=tEEEH^
-^

h<

-U|

>

j_j-

gJ^t:?=*Ft:^-_-*z,^^ ^#--#=*

54

-^

:^: -It-H-

TT"

"cr

fn

f
Z^

f-A:^

-Or

jQl.

CHAPTER

VII.

COUNTERPOINT IN THREE PARTS.

FIRST SPECIES l>iOTE AGAINST NOTE.

Counterpoint in three parts is not so strict as

counterpoint in two parts. It may be said, indeed,
that absolute rigour belongs only to the latter.
The
severity of the rules becomes mitigated in proportion as difficulties multiply, and these difficulties
augment in proportion to the number of parts
which are made to move together. This, however,
is not a sufficient reason for us to emancipate ourselves entirely from the trammels attached to this
species of composition
for, even here, we still fall
far short of being allowed the facilities which are
permitted in the modern musical system.
;

RULE

I.

In this species of counterpoint, the melody ought

complete in each bar, as often as may be without rendering the melody too disjointed, and therefore too difficult.
shall, consequently, sometimes be compelled, instead of always employing
complete chords, to suppress a note of a chord, and
to double one of the remaining notes, for the purpose of obtaining a more natural flow of melody in
to be

We

>

55
the parts, and, at the same time, more variety in
the effect a variety which results from the mixture
of complete and incomplete chords.

EXAMPLE.
|
- 1
J
1
J

ly

J\

id^
vU

^^

f-^

--

<
c:j

'A'
pf

3
^

1*

t_>

<-

r->
<

1
J

>

r~)

1
1

Each chord of this example is complete but,

though the parts sing tolerably well, they sing still
better in the following example, in which the chords
are not every where so complete
;

-^

<~>

%j

^
^

_o_

-^-

-^-

..ex.

-^

-CJ_

~0'

This second example, though less complete than

very reason, easier and

the former, is, for that

more elegant.

RULE

The
the

first

II.

bar ought, in general, to be

common chord

it

filled

may, however, occur

by

that,

56
on account of the diapason or compass of the voices,
or because of the bar which follows, instead of
5

common chord

the

usinsT

form

in the

3,

we

are

3
obUt^ed to introduce the form 5, or even to omit
1

altogether some

we may

member

of

In this latter case,

8
5
3

it.

use the following forms

8,

or 3, or 8, or

5, or 8.
1

As

form everywhere

this last

offers the

same sound,

produces the same effect as the

are only allowed to begin in this

it

We

unison.

manner.

With

respect to employing the

in the last bar, these are the

18

introduce

11111

1,

common chord
may

forms which we

or 8, or 5, or 8, or

1,

as often as pos-

is often difficult, and sometimes imemploy any one of these forms when
the subject is in the bottom part for, in this case,
we must almost always finish by the third and octave.
The ancient composers always ended with
the major third, whatever the principal mode might
chance to be and the reason which they assigned
for so doing, was that the minor third being much
more imperfect than the major third, the latter was
more proper as a close.

sible

but

it

possible, to

RULE

III.

The parts ought always to be at a proper distance from one another

and the nearer they are
;

together, the better the

effect

which

will

result.

57

There are cases

in which this rule admits of excepbut they oug-ht to occur but seldom, and
should be avoided, unless it becomes impossible for
us to do so.
To facilitate the observance of this
rule, in a position of difRculty. we may occasionally
allow an upper part to cross below an under part.

tions

RULE

IV.

In counterpoint for three parts, we are not allowed, any more than in two parts, to use hidden
octaves or filths, either between the extreme parts,
or between an intermediate and one of the extreme
parts.

Sometimes, though very seldom, we may infringe

this rule,

as far as regards the intermediate part

when the

strict observance of the prohibition

the progression of the two parts, or
else give birth to some other still more serious inconvenience with respect to the next bar.
No exception is allowed with regard to the
extreme parts as compared with one another.

only,

would

clog;

Remark. It is unnecessary to mention here the rule which

two consecutive fifths or octaves, since this rule is common

forbids

every species of composition.

The prohibition of using two hidden octaves or fifths between
the two extreme parts, also applies to every species of strict comto

position.

In using incomplete chords, we must not introduce the third or sixth in two parts at the same
time.
We are not allowed to double either, on account of their imperfection, and because they would
render the harmony too thin and poor. The double
octave or fifth is permitted in incomplete chords
because of their perfection. This rule is, however,
subject to numerous exceptions
and many cases
occur where, for the sake of good harmony, or a
;

58
good progression of the parts
graver errors

when we have, without success,

means of acting otherwise.

cords,
sible

avoid

or, lastly, to

we may double the imperfect contried all pos-

EXAMPLES OF THIS RULE STRICTLY FOLLOWED.

-eo-

I
6

Forbidden.

TT- -^3

/v

-'

f(\
l*^ /

r~

r ^

Allowed.

.5

Allowed.

_OL

L/

1
1

y
((>
V)

-o-

_Ci_

1
I

xJ

Not allowed.

f^

vJ

V^
(./^

I
RULE

>
f7

r^
r->

1
1
1

'

1*
1

I
1
1

VI.

Neither of the upper parts must ever stand in

the relation of a fourth to the bottom part ; consequently, we can never employ the chord of the
fourth and sixth.
The fourth between the intermediate part and the upper part is allowed ; as, for
6

example, in the chord

3, or in

the incomplete

common

8
chord in the form

5,

such as

it

mav be

used in the

1
first

and

last bars.

RULE

VII.

The chord contained in the

ought always to be complete.

last

bar but one

59

To conclude this chapter, we shall place under

the eyes of the pupil, a lesson on this species in
three parts.
A*

^r~T

T*
i >

^
O

--

Subject

Xi.

-^ilQ.

^\
31

-^-

in
"cr

-^

-C2_

-^-

-^

<j>

r>

Tzr

jQ"

--

'cr

Subject.

-^

-^T.

-^-

-^

XT'

_Q-

-^

3ziE

Si5!

X5-

zx

-^

In these and all the subsequent examples, the translator has, when necessary,
indicated the part written expressly by Cherubini for a contralto voice by
; and
those for a tenor voice by T.
The parts intended for the soprano or bass voices
are sufficiently shewn by the treble and bass clefs alone.

60

&

T)

xx:

<>

-Q-

-^-

-e^

TT

35
-^

^^

3!
-v^A

~T->:

"Tir

icn

-e>-

-^-

-^

"O"

r->

c^

,1

^:

"o:

"C5-

i;

.CJ_

-e>-

Jd

pJ^J

i->

ZZZ3ZZI

Subject.

T
1

:^r=lz:

3
"''V*-

CT-

-3-

-Q(

-Q-

r:5-

Q_

^^
1

61

CHAPTER

VIII.

COUNTERPOINT IN THREE PARTS.

SECOND SPECIES-TWO MINIMS TO ONE SEMIBREVE.

RULE

I.

This species of counterpoiut

is

subject to the

same laws as the second species of counterpoint in

two parts with this difference, however, that we
may, by favor of the two minims, supported by the
;

complete common chord, save two fifths, both placed

on the strong time of the bar, as shewn in the following example
:

EXAMPLE.

-^

Tzr

/\. 0\
5

^E

-^-

TX

The melody of the middle part, which would

not be allowed in two parts, is tolerated here because
of the acute part, which, by its harmony, covers
This license is not,
the defect in the middle part.
however, by any means, admitted between the extreme parts and, though tolerated in the middle
indeed we must have
part, it must not be abused
recourse to it only in the most difficult cases.
;

62
RULE

II.

The two minims against one semibreve can only

the
in each bar in one and the same part
placed
be
other two parts will only contain semibreves.
;

EXAMPLES.

-cr

-i-

-^

_Q_
-G^

-^

-^-

--

ffi
Subject.

-^-

ffi

"CT

-^

or
Subject.

_Q_

-^)r-

ffi:

rp:

-^

-^-

^h

-I

-Ci.

TT"

-^-

"C3"

or

cr
A

-Q.

-^

-^

Subject.

'

-JV

-^-

"QIOl

1
1

63
RULE

III.

We

must avoid doubling- the third on the accented or strong time of the bar this prohibition
does not apply to the weak time, where we may
double the third.
;

EXAMPLES.

-^r
8

-d

"CJ"

T-fv-Qr

3
3

-O-

-^

is:

-^-

~C3~

W: -^

3t

There are cases in which we cannot avoid

doubling the third on the strong time
but these
cases are, or at least qyght to be, very uncommon.
;

RULE

IV.

The unison on the strong time is permitted only

when we really cannot manage otherwise it is
;

allowed in the first and last bars.

the weak time.

It is tolerated

EXAMPLES.

-^

-^

-^
Unison.

Unison.

-&r-,~^-

ffi

-^-

TDLTnison.

-^

X2:

JH^

-^

id--ot

Gf-

on

64
zz9l

i$

r>
Unison.

^B^^E=^

&

Unison.

St

-^-

~CT.

RULE

V.

The part which contains the two minims should

begin on the Aveak time of the first bar, the strong;
it is consitime being filled up by a minim rest
dered as more elegant to begin in this way.
;

EXAMPLES.
Subject.

-ri

-ry-

XT-

-^

Op
^->

-^-

-cr

t3

.,

J-3I-

:^

TP-

"o-Qf-

sie:;

-e>r
:[=:

65
RULE

VI.

In the present species, or in any of those which

we may, in embarrassino- situations, as was
remarked in the preceding species, occasionally cross
the parts that is, let an upper part pass below an inferior part.
This kind of transposition, however,
must not last longer than one or two bars at most.
follow,

RULE

VII.

In the second species of counterpoint in two

we were forbidden to immediately repeat the
same note in the part which contains the two
minims. This prohibition is continued in the present

parts,

species, though the rule

is subject to an exception,
authorised by the example of
classical composers.
The exception can only take
place in the last measure but one, and no where
else
it is allowed, to obviate the inconveniences
which would otherwise result from the nature of the
given subject, as may be seen in the following ex-

and one which

is

ample

-e>-

1^

-CJi-

-^

'-M-'

^x-

-+

^' '-_oi>t=tl

iPlcf^-cP^4^F^^V[
-^-

-O>--

3^

The counterpoint arranged

-^-

^^

in the manner shewn

two examples, offers on the one hand, at *,
the unison on the strong time with the upper part,
and the same on the other hand at * * with the bottom part. To avoid these two faults, we shall exhibit
two examples in M^hich these inconveniences are not
to be found, and yet all the prescribed rules are
in these

strictly fulfilled.

'

66
"^
Sul)jeet.

'

-^
g;

-9-

-^

-^

li^c

3^

In this manner, by makinf]^ use of the exception

which we have jnst mentioned, we avoid the inconveniences which occurred in the preceding examples;
and, since no law exists which forbids syncopation
in this species, it may be admitted without becoming
reprehensible, provided it be employed only in the
last bar but one.
Still, however, if we can do without this discord, we shouhl do so. The followino'
examples demonstrate that there are many positions
in Avhicli it is very easy to avoid syncopation in the
last

bar but one.

EXAMPLES.

1/

i
^-^

'^

>

-Oh
/"V.

?//

3fC)r

<~>i

1
'

r-)

-O.
1
1
1
1

Subject.

1"
pJ-I d
t

'

ro
*->

<

>

'

=^

*^

e^-

Subject.

ai

II
II
II
11

ZX

-e^-

67

zx

-^-

TT"

%j

Subject.

Wi

(~>

w=^
3>

^^

XI
"cr

Subject.

T3~
_c:2.

i
TDl

-ry

xrr

There are other ways which we shall not indicate;

we leave it to the student to discover them.
MODEL OF A LESSON ON THE PRESENT
J

rr

a!
Subject.

3ii

-^

"cr

SPECIES.

-^-

i^dStzzi^h^izzizpzl
-ey

T^H
"0~
-^-

iizzio:
F 2

68
231

-CJL

^^-

t=

e^

-TJI

-i-

tir

-C5^

-^

"cr

^EE^:

4=

:z2

"

:q_

'/L'

-^

~cn

-o^

CJL

-^

^
fQ

t:

-^'-

-*-

-e*-

-^

.OL

Subject.

--

-^

--

-^-

( >

'"^^

-Ci-

J'/

'

-r
tr
1^7
-^-k jT

c->^_,^_

^jCt

<

\
j

-^

o^

-^-

^;

S 3:

rr

-i-X-

-o-

G9

w-

-^

TD'

~0"

-^-

Jd.

i
EJ

-^-^'1 -j^:^

T~r

3i>"

-e?-

-^r

cr
A

-^>-

Subject.

3!

-e^-

'Q-^-

3im

C5-

-^

X2

-^

-^-

r^

<>

-^

-O.

-^-

:^E:5EE=a

.SZi.

-^

"T?"

-^

-^-

-Or

-^

ZX
-e>-

-^

jCX.

-G)-

70

CHAP. IX.
COUNTERPOINT

IN

THREE PARTS.

THIRD SPECIES FOUR CROTCHETS TO ONE SEMIBREVE.

The student must call to mind what was prescribed in the third species of counterpoint in two
In the present
parts, relative to the four crotchets.
species, we are subject to the same rules.
RULE

As much

as possible

I.

we must endeavour

to in-

troduce the complete common chord, or its first

and if
inversion, on the strong time of each bar
this cannot be done, it must become so at the commencement of the weak time.
;

EXAMPLE.
Incomplete.

z
Complete.

Incomplete.

f=P^
r.
Complete.

Incomplete.

XJ'

Z3:

TT

-^-

Although this rule is, in some sort, one of strict

necessity, there are cases in which it may admit of
exceptions
since it sometimes happens that we
;

cannot employ a complete chord, either at the commencement of the strong time, or at the weak time ;
and that, above all this, the weak time may begin
by a transient dissonance. These exceptions are
received, and are not considered as faulty.
Let
this, however, be as it may, we must, as far as possible, endeavour to follow the rule in all its rigour.

y
71
EXAMPLES.

:P=^
t/

Incomplete.

p^

Transient

Incomplete.

Transient

discord.

discord.

xx

ffi

-^-

RULE

II.

Ill the preceding species, only one part contained

two minims, while the other two parts contained
semihreves.
In the present species, we must

observe a similar arrang-ement with respect to the

crotchets.

RULE

III.

The syncopation which was permitted in the

penultimate measure of the preceding species is not
so in this
since it cannot take place here, on account of the four crotchets.
shall give several
examples on the different ways of coming to a con;

We

clusion.

Su bject.

Vn
^)H.^_V_|t_
i\-

^-^

II

-f.

Subject.
1

^
^^

f)'
("

c/

\.
3-

'!

;!

^-,

II

II

cj

r^v.
1
1

7'

r^
<^^-

II

il
n

11

72
-^-

Eo:

1?=^--

TD'
Subject.

!&H^

S:

._^_

-Ci-

-^-

ifto:

"cr

C5

^^^^^^

Subject.

g?

--'

5:

Subject.

;^^>-

:5^

;3

-^)-

-O"

Subject.

Z3z:

-^-

Si

:zt:

Subject.

-^

"O-

3ii=p^^ptzz=f:
I

-e>-

Iff?

EXAMPLES OF A LESSON ON THE PRESENT SPECIES.

. A

^VF^-

:.=3EJ

-4

"^~^

33

-^

Subject.

^
^

:^^

73
=^
-O-

^i

-1

-Ci.

-^

-L:i-

-^

=^

:^=3t

-^

-^

"1"

.r ?

"o-

^9-

-^

ffi
A

::i=:^z^=:\

3r hiF^"^

JZI-

aj

^^==^-^

_^^_^_^_i -^^9)-^

-d-'-d--^-

-^

Suhject.

TI5-

LJt.

Q.

BiiSSEf^S3^E3^EfEE3^Ef:
55^
35

:*Q:

-^_izj_

-o"

^^
3i

-^-

^
-CIX.

-r-rf f

-^T^-

74

-^

-d-

^ ^f r
3t

ir ^r

"^

1^

-^

-^

-rT"

I
xx

"cy

jcy-

ME

<

?zr

-^>-

[^^^

=**==?

zx

ju:

-e^I

1^-i-

-^-

-^

r^f-^

JCJ_

c>

?^^=^-aj-^=5
Ifo:

_Ol

->-

Tzr

^^^^^^s

75
After the pupil has sufficiently practised in this
manner, placing the crotchets in each part alternately, he may mix with it the preceding species,
or that of the two minims to each semibreve, as
shewn in the following examples. In this case, the
part which contains the minims must begin after
that which is occupied by the crotchets.
See the
following examples.
EXAMPLES.

..rx.

-^

ct-

tl

-^

Bi

$&r

<r>.

r>

-^-

or
^

_)

1-

-^^

31
-^

-^

ffi

S
or

-p

l(V\

KV

< >

Tzr

r^

u,
tf<^^l
"^

<>
c^

-^

II
1
IS
li

^=^^^^^^

i^^^-r-^J.p^.:=E

76
or
-4^PA-l^ ^zizE(^:

EB

qt=3^^

_OL

TJ_Qj.

-C5-

.^

JiQ-

In this admixture of the two species,

it is

next

to impossible but that one of the two parts

must therefore infringe
move by skips.

the strictness
ploy diatonic

must
We
upon
of the rule which requires us to emprogressions in

preference to

the

other.

CHAPTER X\
COUNTERPOINT

IN

THREE PARTS.

FOURTH SPECIES 0^ SYNCOPATION.

In the species of which we are (j-oiu": to treat,
the pupil must not forget what was said respecting
the species analogous to it in two-part counterpoint.
The same laws serve as a guide. There only remains for us to indicate here in M'hat manner we
must introduce a third part during the syncopation.
RULE

We have

I.

already said, and it is necessary to reaccording to the system of strict composition followed by the ancient composers, the syncopation or discord is merely a suspension of the

peat

it,

that,

77
Setting out IVom this principle, it will
follow that the syncopation does not destroy the
nature of the chord in which it is placed, but that it
only suspends a consonant member of that chord.
Consequently, the discord must descend diatonically
on the concord which it has suspended, after having
been prepared by another concord, forming part of
the preceding chord.
The other parts ought therefore, at the moment of the syncopation taking
place, to stand in the relation of concords to the
subsequent resolution of the discord.

concord.

EXAMPLE WITHOUT SYNCOPATIONS.

-^

-^

"cr

-^-

-TT

"\*

pf'

c >
t

>

>

i
1
1

EXAMPLE WITH SYNCOPATIONS.

-^

_Ci-

=5t

C5

-e>-

Tzr

^P=^
&-

-G^

_Ci-

From this latter example, we see that the two

other parts are always the same, whether we do
employ syncopation, or do not and that, being
struck simultaneously with the discord, they are naturally consonant with its resolution.
;

78

Remark. What was said in tho preceding nilo, with regard to

syncopation placed in either of the two upper parts, equally applies
when it is introduced in the bottom part. Still, it" we were not to
use some precaution, we should occasionally fall into inconveniences and errors, which we shall place under the eyes of the student, and which he must learn to avoid with art and discernment.
Let us, for example, suppose a series of s}'ucopations such as
these

EXAMPLE

-^

I.

-rur
"C5.in.

gi
T-Vi

&

_L^i

-^

CX

-^

:^

Omitting the syncopations, there

_-^l

will result this

SECOND EXAMPLE.

-^

XT-

-r

"CS"

JOl

-^

TPr

-^-

xr

-^

"Try

-^

In following the system, that discords are only suspensions of

concords, the result afforded by the second example is faulty, since
it
presents a series of fifths, wliich is forbidden.
Though the

example is not so, according to the authowho have made no scruple to employ
syncopations in this manner, assuming that the discord would, in
this case, save the fifths which result.
It is true that they have
result is vicious, the first

rity of the classic authors,

not made use of so long a sequence of these sorts of discords as

that given above
be this as it may, their opinion appears to me to
be erroneous, though use may have consecrated it for, setting out
;

from the

principle, that the discord is a

mere suspension of the con-

79
cord,

it

ouglit not therefore to destroy the nature of the chord,

only suspends

it

but since such eminent classical writers

have pronounced their opinion, we must needs submit.
Since,
therefore, we cannot destroy an opinion, thus in a manner consecrated, we must at least endeavour to use such licenses but seldom,
and in difficult situations and not employ this arrangement of syncopations for more than two bars at most, sedulously avoiding a
The following example falls under the same catelonger series.
gory as the preceding one, and is subject to the same disadvantages, and to the observance of the same precautions.
its effect

TD'

-r:^

-^>-

-3^-

XH
The same

"T3

Tzr

who have approved

classical writers

of syncopation wliich we have exhibited, have

of discords arranged in the following order

of the examples

condemned a

^F^=^

series

-3^

-^-

"cr

According to them, the more perfect the concord, the less harmonious ; and discords prepared by concords, such as the octave or
unison, cannot obviate the inconveniences which result thereThis inconvenience is striking, since, by omitting the synfrom.
copations in this example, we shall have a series of octaves between
the two extreme parts.

4-e^-

As a consequence
to classical writers,

of

-TT

all this, it

-3-

follows that discords, according

and notwithstanding the

composition, do save consecutive

fifths,

rigor of this kind of

but that

the}- will

not save

two octaves.

RULE

II.

In this species, all the discords may be used, viz.

the discord of the second, that of the fourth, that
of the SEVENTH, and that of the ninth.
The discord of the second must be accompanied
by a perfect fourth it can only be used in the
;

bottom

part.

80
"TT
-^-

7 0~

--

20

-er

-2G3-

'40"
-^r .Q^

2\

Cases occur in which we may accompany the

discord of the second by the fifth this way is even
more conformable than the other to the true principles of strict counterpoint, which, in some sort,
prohibits the use of the imperfect fifth, which
could not otherwise be avoided in the harmony of
the preceding example.
:

Example

Example

2nd accompanied
by the 4th.

of the

-^

_Ql.

-^

-^

-^

3
The

of the 2nd accompanied

by the 5 th.

-&-

-Q-

-^

-Xjr

Imperfect 5th.

a=F^

fc=a:

Oi.

i
fourth ought

discord of the

to be

panied by the fifth and this discord

cither in the middle or the acute part.
;

accom-

may

occur

EXAMPLES.
f

4|

f)

pis

"

.(

V^_

-e>
s

>~

^1
o_|

-"'--

^tH
C3

The discord of the seventh must be accompanied by the third and resolved upon the sixth it
can l)e placed only in one of the upper parts.
;

81
EXAMPLES.
6

-Ci;
3

-Q.

-^

-Q.

-^-

-^
-O-

The discord of the ninth must be accompanied

by the third and resolved on the octave it may be
placed either in the middle or the top part.
;

EXAMPLES.

-^

ESU

^^

'T^

8
3

-^-

-:er

"O"

RULE

in.

When, from

the nature of the given subject, from

the progTession of the harmony, or from the disposition and melody of the parts, it would be impossible to syncopate either with or without a discord,
without falling into proscribed inconveniences, we
may omit syncopation altogether, or employ a minim
rest in the middle of the piece
and, at the beginning, even a whole bar rest.
;

EXAMPLES.
Subject.

XX

_Ci.

-C5-

ncT
fcrc5"

-&r--

-^

-^

-^

-^>-

82

-iU-

3-

"cr

-es-

"q:

-C5-

-^

i^^-

;i

Subject.

-^-

-^^

:^

RULE

XJ-

-^r

IV.

We

already know that discords must be prepared and resolved by concords. There are, however, circumstances in which a discord may be prepared and resolved by another discord.
EXAMPLE.
X-e^i

1-^^

-Q__Q.

->-

-^

CT

4f

"CT

"C5"C5-

-Ci_

_i::i_

83

These combinations can only occur when the

])ottom part sustains the same note for several successive bars ; and provided the first discord, as at *,
be prepared by a concord, and the last discord, as
at * *, be resolved by another concord.
In this
case, all that is contained between these extreme
notes may be either consonant or dissonant alternately, Avithout following the rules prescribed, provided always that the part which does not syncopate determines the harmony. The note sustained
in the bottom partis called a pedal.
ANOTHER EXAMPLE.
Subject.

i
-^-

-^

4==p:
;9^

fl

-T=^

mzzzor
s

22:

By this means, even in the middle of a subwhen it shall prove impossible to syncopate
otherwise, we may avail ourselves of the pedal for

ject,

two or three bars, provided the given subject

ceptible of

it.

EXAMPLE.

-^

-^

^^

--^

-^-

TX

XV

-jnr

G 2

-^-

is

sus-

84
RULE

V.

If the subject admit of it, the last bar but one

ouffht to contain the discord of the seventh when
the discord of the fourth
the subject is at bottom
;

M hen the subject is in the middle part or acute part

and the discord of the second when the syncopations
are placed in the bottom part.
;

EXAMPLES.

:^=^

TT -^

_o>_
.ex.

.Q_

-9-

->-

-^

-^

Subject.

-f^

-O^-

Subject.

-^

_o>.

Ty I

B
Subjeet.

^^

^h-a
4

tJ_-

-^

Subject.

lis-Q

-^
4

X3:

^^-

C3.

-CJ-

"0~

-^-

SE
"St

-Ci.

-L-

85
EXAMPLE OF A LESSON, AS A MODEL FOR THIS SPECIES OF
COUNTERPOINT.

T=
-&-

m3

-h-

:t::

JOL

Tiy

Subject.

&-

^^-

Si

S
Ijffi

-^-

Q-

^&-

^^

3i

-^-G>-

t?

-^

J2;

7(0^

-^-

1^

:=t=:

TJ'

^^

C5-

i
-^-

ffi

-^-

"W

3
D

E^^

-^
-^-

-C-L.

jQ

-e

Subject

^^

-^-

-Ci-

jr>.

-&
\^

-^

-^-

^
86

ux

-^-

t--o^-

^
Si

r v

jr-r

-^'-

^^

^>-

L:^^

"O"

tt

lo:

^^
i

1-

"C5I

ea

ffi

-^
O4=t=

tt

TT'

:s:

I
Subject.

iS

~o~
-O-

-^

jCX.

ZX

33a
^^

^^

Si

-^-

--h--

:r:

-^

"Cr

-Q.

-^-

-^

:o:

^~^

"^E^..
^

^:

"^

,C-j'-

:^

^^

qL

^
87

-rjr

tt

c?

--

-^-

as

-^>-

^
a;

:^=q

-^r

P==t:

:^

When the student has sufficiently practised this

way, he may mix the second and third species with
the present, placing the suhject alternately in each
of the parts, and one of the two other species in the
other.

EXAMPLES.

Fourth species.

SE^
T

3i

xz:

=t

:t==

:t=:

rc^-

^s^

Subject.

^^

Second

^a!

-O-

-^-

species.

lo:

i^^:
-o^

=r

3E

-n^

&-^-

^
-^^-

-cr

-^-

T3"

lot

-^

zx

il:

-^
*^
-^

88

:t=[=
"cr

-f-i-t-H-

-^

-^

-^

-^

-^>-

-d-

Of

Fourth

^3

Tzr

species,

m^
e^

r>

Subject.

-3^4^

i"

_ oI

c:>

v^

v^

53

pQ

^,JIZ

-^

'^

-^

35b

^-

^E3^3?E^E^

"Ot~^"<cr

-^-

irz:

^h^

tt I

-^-

-Q-

-CL.

"

^1^=:^=:^^
J it:^
J J^

&

-^

-cr

-^

Jtz*:

-T

-^-

cr

*-

tt
-^

^^^

x:*-

89

CHAPTER XL
COUNTERPOINT

IN

THREE PARTS.

FIFTH SPECIES YIjOniD COUNTERPOINT.

unnecessary to add new rules for the present
it is a compound of all the other sorts;
consequently, all that has already been said must
serve as a basis for florid counterpoint. I shall
therefore give only one model of this species;
adding that, when the pupil has practised it sufficiently, such as shewn in the next example, he may
mix the second species with the fifth, and then practise the florid counterpoint in each of those parts
which have not the subject.
It

is

species, since

EXAMPLES.
Florid Counterpoint in one part.

m.
A

t^.

"CJ"

Subject.

ma

fe^
35

-^-

-c:>.

-rrr

'

IZX

-O

-^

^a

t=^

-^

-nr

cy-

-^-

-^r^

jci.

-e-

90
-^

-^

^f-m^

P=if^

-i-

-3-

-d.

-^

35

EXAMPLE OF THE SECOND SPECIES COMBINED WITH FLORID

COUNTERPOINT.
Second species.

-^

-o^.

-o^

-e^r

-^,-

t:

tr

Subject.

S!
CD

-^

"O"

Florid counterpoint.

-On-

I
S

t:

r>

s^zzzpz
-^L

xx:

xrnzzl

/^

3^

-Or
ji:

-GV

:[=

-^j^

s?=z=d

-^

:#o=H

-e^-

-^

-Q.

^ilES

-^-

-^'-

:1M

CJ

91

EXAMPLE OF FLORID COUNTERPOINT

A

IN

PARTS.

Subject.

S!
T

a?

TWO OF THE

-^

TDFlorid counterpoint.

S^

y~]g-

-^

-tut

i::

Sil=l

Florid counterpoint.

-^-

-^-

^1

^9

r^

-^1

3i3^^
^-^=Ui

-Ci-

^ m ^P-^t-

Bi ^=--

_Qh

:^=P:

a:,^^

1-

ji:

xz:

#-l24-

:^z=|Ezhz=^

-^-C5"

-^

..
|

ei^E^

ip^zzzp:

:^:

^=^

-^"cr
-ry-

92

CHAPTER
COUNTERPOINT

XII.

FOUR PARTS.

IN

FIRST SPC/S NOTE AGAINST NOTE.

If the rules of counterpoint in three parts are
not SO strict as those of counterpoint in two parts,
they naturally are still less rigid, with respect to
the counterpoint of which we are going to treat.
Indeed, we meet wdth examples even among the
classical composers, Palestrino for instance, such
as, at the first glauce, we are tempted to consider
absolutely incorrect, or, at least, as exhibiting too
great a degree of license
but the various difficult
positions in which these passages occur, and the
frequent introduction of them by such great masters,
prove that these passages are thus combined
under favor of a relaxation in the severity of the
rules, a mitigation which, as we have said, is allowable in proportion as the number of the parts increase
hence those examples, which at first appeared incorrect, eventually become authorities.
;

RULE

I.

5 6

The chords

3, 3,
1

members,

members

it

is

being composed of only three

necessary to double one of these

in counterpoint in four parts

thus, in the

chord

3,

we may

in turn

double

all

members

these

according to the position of the parts

but we
should double the octave and the third more often
than the unison or the fifth. If we employ either
of these chords incomplete, which is allowed, and
at times even indispensable, we are compelled to
double two or to triple one member an expedient,
;

93
however, to which we ought not to have recourse,
except in situations of embarrassment.

Remark. The employment of the unison in the present species

ought to be avoided, particularly in the upper parts, where however
it is sometimes tolerated.
It is allowed between the two lower
parts, provided that we do not abuse this permission, and employ
it only after having in vain tried e\-ery means of avoiding it.
It
is freely allowed in any of the parts in the first and last bars.

We

may

in like

manner double

the

all

members

6
in the chord 3, but

we should double

the third in

preference, and the others less frequently.

Practice
and the application of this rule will teach us to
choose the member most proper to be doubled in
each chord.

Remark, No positive reason can be assigned for the preference

which is given to the doubling of any one member of a chord
rather than of any other.
It appears, however, that, by doubling
the third more often than the other concords, we obtain a more
harmonious whole, and, that a well-considered choice in these
doublings of intervals, gives more or less of elegance and facility
to the melody of each part, and may often enable us to avoid faulty
progressions between the parts.

EXAMPLES
Of

the different Aspects of the

complete

and

Common Chord and Chord of

incomplete, which arise

from doicbling

the Suth, both

their memlers.

COMPLETE COMMON CHORD.

With the

bass doubled in the octave,

m
f^ s
n

.3

-e9-

"C?"

.5

xx

-^
-^-

^S^
unison.

the third doubled.

-^-

Octave and

With

-^-

IIB

-^-

i^s

^m

ffi X3- ~o-

^1


94
With the
r

iloubloJ.

fifth

n
>
1'

5
1
1
1

fO
11:7

r~

c~i
'-^

1
1
1

r)

^>

II

f{>
\i2
tJ

1
1

t-
'-'

^^

1
1
1

<-

'

-o5

3
*">

*/

J>

1 1
1 1

1
1
1
1

pjt_J

I 1

1 1
1 1
1 1

^v.

*-*

' 1

<^

1
1
1
1

INCOMPLETE COMMON CHORD.

8

With the bass doubled

8
8
1

/
to
SiJ

f-^

r^

in the octave.

8
1
1

t>

>

1
1

^^-^

1j
1

tJ
8

"1

8
1

5
B
1

^
3

T7

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tfw'
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o-i

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1
1

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n o:
Unison

i^^S
Idem,

-^-

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xz

lo:

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With the

-^

-^

Allowed
uniscin.

-Q-

fifth and bass doubled

by the octavo.

-CL.

aizi^

-CiWith the

third and bass doubled

-^

in the octave.

Unison
allowed.

allowed.

^^g^^B=^
Allowed
unison.

:o-

c^

i^

95
COMPLETE CHORD OF THE SIXTH.
With the bass doubled

in the octave.

-^

-^

-^

c^

r^*i-

1 1
1 1

1
1
1

(^
With the
3

^^
With the

third doubled.

Allowed

sixth doubled.

i^

/V
r^
lU

<^>

!
8

'

I
1
B

>

fli

SI

unison.

i^^l
s

^^^=e ^

C7"

n
-G9-

6
-Ci_

_JU_

<r>

ai::iz|^g_|j^^

INCOMPLETE CHORD OF THE SIXTH.

With the

third doubled

With

and octave.

the sixth doubled

and octave.

3
-CD.

_C2_

-^-

^
w-

-^-

-Qi-

-^
-^-

I
-Ci-

XX

>

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SI

SE^

96
Mill have more or fewer
according'
to the pitch or elevation
aspects,
different
For this reason, and
of the lower or bass note.
because of the particular movement in each part,
it is difficult to employ the chords complete in every

These two chords

bar.

RULE

II.

We must contrive so that the parts may neither

be too distant from, nor too near to one another,
we must therefore
particularly in the lower parts
;

avoid, as far as possible, using several successive

Endeavour,
thirds between the tenor and bass.
that the parts may preserve a moderate and fitting
distance from one another.

Remark.- When the parts are too close, particularly the two
lower parts, they produce a dull and indistinct effect when they
are too much dispersed, being at a great distance from one another,
the effect which results is vague.
;

RULE

111.

As we have done before in counterpoint in three

we may also in this, from time to time, par-

parts,

ticularly

when

the case absolutely requires

it,

allow

an upper part to cross below an inferior part, during

one or two bars at most. This means enables us to
avoid many faults, and often favors an easy flow of
melody in the parts.
RULE

IV.

Two octaves or two fifths in succession, and by

similar motion, are always prohibited between any
of the parts.
But we are allowed to employ two
fifths in contrary movement among any two of the
three upper parts, or in the two mean parts with
respect to the bass.
They are sometimes allowed
between the two extreme parts, but not too frequently ; it is only after we have, in vain, tried all
other means to avoid so doing, that we may employ

them.

97
RULE

V.

We

are allowed to proceed to a perfect concord

motion in the two middle parts, as compared one with another, or in either of the middle
parts as compared with the soprano or bass.
This
license cannot he allowed hetween the extreme
parts, unless we are ahsolutcly driven to use this
fault to avoid one still more g-rave.
in similar

RULE VL

We

ought generally to employ the complete

common chord

in the first har

but if this rule
should hinder us from obtaining a faultless progression of melody in proceeding to the second bar, or
even to the third, we may with propriety begin with
an incomplete common chord.
This permission
may be extended even to the introduction of the
same sound in all the parts, if any adequate advantage results as to the progression of the parts rela-

tive to

what

is

to follow.

EXAMPLES OF THIS LAST ARRANGEMENT.

r:?

^:
St

^
Z3:

cr;

What we

I
have said

--

-^-

St
35
will also serve to establish

the relation of the last bar with the last bar but one
or two, and the examples which we have given may
be ap])lied to it.

98
Remark. Witli tlie assistance of the rules for this species, and
counterpoint in two and
the help of the precepts laid down for
practised this first
three parts, we may, after having sufficiently
third species, withand
second
the
to
proceed
parts,
four
species in
If we examine the following
out the aid of any new rules.
examples, we shall readily perceive that what has been hitherto
respecting the three first species, will be quite suificient for
said,

our present purpose.

EXAMPLES IN FOUR PARTS

NOTE

AGAINST NOTE.

TX

35 -^

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99

zx

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100

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101

EXAMPLE

FOUR PARTS TWO NOTES AGAINST ONE.

IN

-^

c^

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1

A-J'

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3i

Subject.

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xx

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102

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SEE

XX

Subject.

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103

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Subject.

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104
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H
105

EXAMPLE

FOUR PARTS

IN

FOUR

CROTCHETS TO ONE

SEMIBREVE.

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106

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107

F^^- ^ Se^^I^^
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Subject.

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35
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23.

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xi.

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108
Subject transposed.

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or
"o:

^B'i

ati,B^-^

p-~^-

t==zt

^^

1^^-ti^i

TJ"

-^-

-^

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XT'

->-

ffittzfc
:

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cr

ga

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109
After havino- practised these three species,
placin<r the subject alternately in each of the parts,
the pupil

may

together,. as

practise mixinii: the three species

in the following example

shewn

a=

3= :^

3^

:^

xn

_e>.

^E

=pt=

^y-zr:iy-"gq r-"F-r

Subject.

^g^^

.CJ_

e>

i4

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4^
-

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cr
tzztzit

3iE
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i-

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110

~3>-

TT
_tJL

:^=et

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XX

-^-

-o-

xz

-^H^-P^=

-^-

ffi

CHAP.
COUNTERPOINT

FOURTH
Besides the
counterpoint for
also serve as a
are other notions
what has already

->-

XIII.

FOUR PARTS.

IN

SPi:C/S SYNCOPATION.

for syncopations in
parts, which will
three
two and
species, there
present
in
the
guide
be added to
to
precepts,
and other
syncopation.
to
relative
said
been
o-iven

rules

RULE

I.

chord ought always to be complete in

the bar, whether the syncopated note is a consoin this latter case, if the
nance or a dissonance
chord is not complete on the accented time of the
bar, it must necessarily be made so on the unaccented time.
First, the

RULE

We
manner

may employ
:

all

II.

the discords in the following

Ill
Discord of the fourth.

-Ci-

--^

-^

Inversion of the parts

-^

-^r

-0_

:nr.

Discord of the seventh.

X^

-^

-3-

-^
Parts inverted.

O-

-^

-f5r

.O^

1=

i
13:

-^

_Q_
Discord of the ninth.

-C-i-

23

gi- :=io

-1

-^>-

.nz
-G^r

^
3

<r>.

-^-

-Qh

-^-

:t=:fl

I
Parts inverted.

-^

112
Discord of the second.

-^-

-^

-e>

-^
-^-

^1
gi

XJ

Remark.

when

The

first

rule says tUat

the syncopation is dissonant.

examples,

it

seems

-Or

o-

cliord must be complete

examining the preceding

tlie

On

at first that the chords are not

complete at the

moment of the appearance of the discord they are so, nevertheless,

if we have not forgotten that these discords are only suspensions
of the concords.
On this principle, we have only to take away
;

the discord, and in its place substitute its resokition, to convince

ourselves that the chord is complete on the accented time of each
bar.

EXTENSION OF THE RULK.

We

have seen in what manner we must treat the discords of

suspension in four parts, when we employ only one chord in each
bar; we shall now shew another way of accompanying them,

which necessarily produces two chords in a bar, and which sometimes changes the resolution of the discord, by causing it to
descend upon a different consonant interval from that on wluch it
is

usually resolved.

113
EXAMPLES.
Treatment of the Fourth.
2

:^

XT"

-^

jCV

-e>-

Tir

-<-i

r>

-e>-

T-5

ep

-CJ_

iq:

e^

-^
-*-h

li:

Treatment of the Seventh.

xs:

-^

i-ilM
=j

=^ I

(">

-e-

Si

P^

^;

CK-

:^e3e
-^

~C3-

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-CV

-^-iHJ-

liX

-^-Ci.

-^

"cy

iS'

Parts inverted.

Bt^
ffi^

'r:?-

-^r

-^

^
114

-&r-f

Parts inverted.

T^^ Ty

-oo, -r

<=)-

-e>-

t=t:

rcx:

"cr

-^>-

533

-e^r

0\-

1=^:

i
O

s^^lSspgji^gl

Treatment of the Ninth.

_s_i

IHO

-t3iB

-^

Parts inverted.

:o:
"^

'"^*

TT i

11

1
1

ffi

"O-

TI?-

-Qr
tr-

^
-o-

-esr

-^-e^T
Parts inverted.

o-

-^

Qffi^

ffi

=5t

;?

-^

:^^

^
115

^^
-^

-^

r^

g^^^

-^-

-^
:^-.-:^

-e^

-^3t-

^;

^=1

is:

-^-

jct:

Treatment of the Second,

I^

:=x

j^Z

-^-

-^

xj:
-C3-

r-

-C^h

-^-

Si^^

::sz

xz:

XT

S
^i^^^

-M
-J

ev-

-e^

1:^

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1--

XX

-^

.XJ-

_Q.

-Q_

^
I

-^

I
2

116

-^

"^

-^-i~A-

-^ S

-^-

-^-

-;^-e)t^

"O"

-^

-^

-Ci-

Wl

_CJ_

o'

cJ^

These examples contain two kinds of discords tlie one sort are
always suspensions, but tlie concord on which the suspension is resolved belongs to a chord which is not that in which the suspension
was placed, as in examples 1 and 2. I'he others are not suspensions,
they are discords introduced into the chord, and which form a part of
it, as in examples A, B, C
by this means we obtain those compound
chords, called the dominant seventh, seventh on the second of the
We see therefore, by these different examples, that the
scale, ^-c.
discord of the fourth may be resolved on the fifth or on the sixth
that the discord of the seventh may be resolved on the sixth or on
the third and fifth conjointly
that the discord of the ninth may
be resolved on the eighth, the third, or the sixth and, lastly, that
the discord of the second may be accompanied sometimes by the
fourth only, perfect or superfluous, and sometimes by the fourth
:

and sixth at the same time.

We must remind the student that, in Rule 4 of syncopation
for three parts, we have spoken of the manner of treating discords
on a note sustained in the lower part, which is called a pedal note.
We shall again speak of it here, to apprize him that it may be employed in much the same way in four parts, the fourth part effecting
no change as to what we have said.

EXAMPLE
-^r

-c:^!-

231

I.

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e>r -C2_

ry-

Xli-

-^-

s n

r->-

Tzr

cr
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117
EXAMPLE

-^

-^-

11.

-^

-^
:^n

-^

<^

'

j^

-^-

.CT

Z3:

"^

TJ-

:^^ -T^

lo:

If we take away the pedal note iu these two examples, we shall

perceive that the harmony on the pedal in example 1 is merely a
sequence of discords of the seventh, resolved on the sixth and
that the harmony in the second example is a sequence of seconds.
shall give a few more examples on the different ways of
introducing discords on a pedal.
These examples are extracted
from the works of Palestrina and we shall see that this classical
author employed the dissonance of the fourth without preparation
at first, that it might subsequently serve as a preparation to itself.
;

We

EXAMPLES.

r^

&,

TT

-Q.

.r!^

^
^^

-I

j^-

-C3-

^
f-

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i^

'cr

v^

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118

^
M r

I
" I
II

v^

^ ^

i^

-^

c>

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i::?

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e^i
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^
I

^^

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'

rr-

23:

v^

zx

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4=

ffi^E^EFSE

2X

-ej-

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i
8

-^

^
We

-^
may

xz

xz:

also use the imperfect fifth, if

we

treat

it

thus

EXAMPLES.
221

jCp"

zx

Parts inverted.

BEES
.Q.
ffi:

-o^:L
-Ci

s"

i
Parts inverted.

-^

jq:

3iEE=:FEtESE=z
Lzzzz-ozzE^zfi-Dzzzj:

J^

-^ ^tzx

EEJEEziS^

119
At

the

first

view,

we

miglit suppose

that

tliese

coiubiuatious

were not admissible iu the present species, seeing that, in imitation

of the same species of counterpoint in two and three parts, we
ought to use minims only in that part which contains the syncopations, wliile the other three parts should contain only

a semibreve
but in this species of counterpoint in four parts, we
are allowed, when the case requires it, to substitute, from time to
time, two minims in place of one semibreve, in those parts which
do not contain the given subject. This means may be used in dissonant as well as in consonant syncopations we may therefore, by
the help of this license, when practicable, introduce discords iu
the manner shewn in the preceding examples, and by this means
escape with faciUty from some otherwise very embarrassing passages.
This license must, however, be employed with considerable
reserve.
An example of a given melody accompanied by three
other parts wdll shew the student how to manage with respect to
in each bar

the present species.

EXAMPLE, TAKEN FROM FEUX.

-^-

mi
;S

-^-

23:

SE
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3
120
As we

see,

from

this

example, that the two minims in place of

the one scmibreve are not frequently employed, we must act in

like manner in our own counterpoints, that we may accustom ourselves to

overcome the

breves only in

all

difficulty

which

from employing semi-

arises

the parts\except that which contains the synco-

See the examples which follow.

pations.

EXAMPLES ON THE FOURTH SPECIES.

Subject transposed.

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o-

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These examples coutaiu some unisons on the weak times and

between the intermediate parts. Such unisons are, in some sort,
allowed in this species, because of the constraint which results
from the obligation of placing all the syncopations in the same
part.
I recommend, however, a good deal of discretion in the introduction of unisons they should be resorted to only when all
other means have been tried in vain.
After the student has sufficiently exercised himself on this species, in the manner indicated, he may mix with the syncopations
those species which contain two minims or ibur crotchets, giving
alternately one of these species to each of the parts.
:

EXAMPLE FROM FEUX.

>

ZX

r>

-^

q==|:

-^

1^-

-C-

-Or

giEE

"t:>"

-e5r-

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Subject.

--

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123

4^Jr

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lot

r\
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-i=H-

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xz

:^

:g[:

:^L

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=?:

^ 3:

-^

-^

-C i.

-^

^
-^-

The part which

crotchet rest, thus

#2:

contains the

crotchets

:n:

-^

ma^- begiu

after

and that which has the minims, after a bar and a half rest, to give
greater elegance to the entrance of each part, as

c^.

124

CHAP. XIV.
COUNTERPOINT

IN

FOUR PARTS.

FIFTH SFECIES FLORID COUNTERPOINT.

The rules laid down for the five species of coun*

terpoint in two or three parts, as well as those
already given with respect to counterpoint in four
parts, will suffice for florid counterpoint, without
the addition of any new rules.
shall give an example of the present species.

We

EXAMPLE FROM FEUX,

^>-

JL^ ^

-^

Si E

^.Oh

-^>r-

Subject.

^tzn

irx

xn

cr

-^>-

:o_

-^

If

"ct:

i;

^a:

:^

-Ci\

t^

--ei:

-^-

125

XZ

->-

3-

iffs:

-e>-

"CT"

_CJTCT-

Whcn this kind has been sufficiently practised,

the student may introduce florid counterpoint, first
always, of
in two of the parts, and then in all three
course, excepting that part which contains the given
;

subject.

EXAMPLES.
"Ol-

io:

-^
"cr
-^r

A^

^te
Subject.

^e

-^>-

-^

zx

126

"Cl~

-^>-

JOL

XJ~

qI

<-^

->-

5t

JIJ^

SS^

.Oh

t: If-

^^

->-

-^>-

L^-

^^

-^

^^

-^-

-^ ^-^^]i-lg|:

^^

41^ I

SE

::q:

EXAMPLE OF FLORID COUNTERPOINT

IN

.U-

-^

ALL THE PARTS.

-^

tS

^
-^

-^

Sulijet't.

g]

-9-

127

^^

'i^

XX

-Or-

Xi

-^
cJ

^CT^
JlQ.

s^^^^
at

-,l!

9:

SE^

iC?

E
-e3>

;^=^

-e>-

-^-

4?-e

-^r

'

"C?

Cjl

ii^r-:^.

4o=U

-e>L

.J(-j

C)

-^

CHAPTER XV.
COUNTERPOINT

IN FIVE, SIX, SEVEN,

AND EIGHT REAL

PARTS.

Real
at the

parts are such as proceed together, and

same time have each a

different melody.

128

We

have already observed, that, as the number

of parts auo;ments, the severity of the rules is mitip^ated.
It is therefore necessary to notice that, in
the diiferent species of which we are about to treat,
unisons are tolerated as also two fifths in contrary
motion, even between the extreme parts still these
licenses must be employed with considerable reserve.
are also allowed to use two fifths in similar motion, provided one is perfect and the other diminished or imperfect as also skips of a major sixth.
In counterpoint in seven or eig-ht parts, the two
lowest parts may proceed from the unison to the
octave, or from the octave to the unison.
;

We

EXAMPLE.

-^

^31--^

-cv

In seven parts.

-^

xs:

-^

In eight parts.

-^

-^

-Or
-"^

-3-

I
-^

It will not

lO^

5t

-^

be out of place to observe here, that,

in florid counterpoint,

in

from

five to eight parts,

when only two, three, or four parts arc combined,

and moving at the same time, we are subjected to
the

rules

already given

for counterpoint in two,

129
three, or four parts
it is only when the five, six,
seven, or eight parts really move together, that the
above mitigation of the rules is allowed.
There are two ways of composing in eight parts
the first is that which places the two trebles directly
after one another, anrl the contraltos, the tenors,
and the basses, in the same order the second way
is that in which the eight parts are divided into
two choirs, each composed of four parts, viz. one
soprano, one contralto, one tenor, and one bass.
These two isolated choirs must be contrived so that
each of the two may occasionally proceed alone,
and that they may alternately interrogate and
respond to one another. In this case, it is necessary that the choir which is silent, while the other
proceeds, should resume its proposition before the
other shall have terminated its period
and that
ultimately both should proceed together.
In this
sense, the two basses enjoy the privilege indicated
in the two preceding examples of skipping from the
unison to the octave.
Ancient authors, when they wrote for a double
choir, carried their attention so far as to render
the harmony complete in each chorus
so far, at
least, as the nature of the subjects which they
treated, and the arrangement of the parts, would
allow.
They imposed this obligation on themselves
on account of the distance which often separated the
two choirs and, in order that such of the audience
as might chance to be placed nearer to one choir
than to the other, might, by hearing a complete
harmony, receive the more agreeable sensation.
However, this condition is not absolutely indispensable.
:

Ancient masters have written compositions in

which they have combined as many as six choirs
at a time*.
It requires much address and atten* They often exceeded this number
in Marpurg, may be seen
an example of a canon for twenty -four choirs
that is to say,
;

ninety-six voices.

130
tion to vanquish all the difficulties which result from
but
the junction of so numerous an assemblage
;

may be

every thing

by labour and a

obtained

flexible organization.

When

the student has sufficiently practised

counterpoint in four parts, he may progressively go
forward to counterpoint in five, six, seven, and
eight parts, beginning with note against note in a
given subject, and afterwards introducing, on the
same melody, florid counterpoint in all the parts,
without passing through the intermediate sorts with
In writing
minims, crotchets, and syncopations.

he must sometimes compose for two

TREBLES, sometimes for two contraltos, or two
for six voices, let him
TENORS, or two BASSES
sometimes employ two trebles and two consometimes with two trebles, two
traltos
tenors, or two basses, &c. &c.
for seven voices,
he must observe the same arrangements, till he arrives at eight parts, in which each kind of voice is
for five voices,

naturally doubled.

We

now

give examples of subjects filled

seven, and eight parts
first, with
note against note, then in florid counterpoint. The
given subject may be placed in any part at pleastill, in the aggregation of so many parts,
sure
the melody would be eclipsed if it were to be placed
in one of the middle parts
for effect, therefore, it
will be best that it should be situated in one of the
two extreme parts but the student should also exercise himself in placing it in one or other of the
middle parts, that he may habituate himself to
conquer all sorts of difficulties.

up to

shall

five,

six,

131

EXAMPLE FOR FIVE VOICES

NOTE AGAINST NOTE.

3!

-0_

TDZ

T!

-^-Ci.

3!

-^-

~ry-

-^

o:

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Subject.

4^!

^y
vi

irl

n
1/
7'
fr>
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32li

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rf^

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IB
II

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1

132

EXAMPLE
The same

IN FIVE

PARTS

FLORID COUNTERPOINT.

subject transposed a note lower, that

it

may

not rmi too high for a

soprano voice.

ji:

5z

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J.

3!

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m,

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133
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jLX.

^^

ms-

3:

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3t

EXAMPLE

IN SIX

PARTS NOTE AGAINST NOTE.

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Subject.

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134
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231

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1
1
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II

EXAMPLE

IN SIX

PARTS FLORID COUNTERPOINT.

The same

subject transposed.

in-

-^>-

<r>

<r>

f]
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ifL

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135
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fi

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SEE
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136

EXAMPLE

IN

SEVEN PARTS
2:2:

-o:

AGAINST NOTE.

:|=-^

-^

c^

-^

->

:^i

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NOTE

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er

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Subject.

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137

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is:
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>


138

EXAMPLE

IN

SEVEN PARTS

FLORID.

Subject.

x:^-

"V

( i

iz

"

o-

-O^.

3ii5

35

Ei^

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Basso

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Basso 2

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139
-CJ.

Xi.

-Ci.

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:Mz

jsi^aLi^-

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o^ fL

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o ^'

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31

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140

EXAMPLE

IN

EIGHT PARTS

-O-

-^

NOTE

AGAINST NOTE.

-CX

5=6

B
m~^

e
A

_-^_

~cr

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^s

^S

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Subject,

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H
141
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fm"

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11

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II
II
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SI
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142

EXAMPLE

IN

EIGHT PARTS

FLORID

COUNTERPOINT.

-^>-

--c:*-

s
y

])

fi
V"\ V >
vU

^S
T

-Or

aiE
B

O-

-Ci-

ffi

3^

h-

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^
143
-^-

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^-

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:4=:

^-

1=

Iee ^j^

^a^

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at

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144
-ea-

-X-

^^r

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lo:

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^^

i^z^izz^i

-o-

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35

Z5:

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145

Remark The

last

bar

one of

this example exhibits a

which we are compelled to
direct the attention of the student.
The two parts marked with a
star * have at once the suspension and the concord suspended.
The
second soprano takes the fourth to the bass, and is prepared and
resolved according to rule
while the second tenor contams the
third.
The only way to employ with propriety these two intervals,
one of which seems to exclude the other, is shewn in this example
that is, the part which contains the discord must pursue its regular
progression, while the other must contain the concord in a series
of notes, ascending by conjunct degrees, without stopping on the
consonance.
This rule equally applies to the sixth struck v.^ith the
biit

manner of employing a suspension,

to

seventh, or the eighth struck with the ninth, &c.

It must bo observed that these two parts must always be placed in two different
octaves that is, the concord must never be at the distance of a second from the suspension, but at that of a seventh or a ninth. It is
needless to add that this exception to the ordinary rules can be used
only when we write for a great number of voices ; that is, in
seven or eight parts.
;

EXAMPLES.
The

-^
"n-

34=gp

-^r

at

_S-S-

2^

:&:

-^

-C8.

_Q.

jCJ-

The

.o_

-LSL.

(3-

_(

-^-

-^

sixth struck with the seventh.

eighth struck with the ninth.

*?s=f-

^1

-^

stizf:

-^-

xi:

-f
J

U6

rr>;

'

li;

^
r

1.

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1
1
1

vJ

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c >

'

V'
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1
I
1

2
\

'

3^-

nl

....

..

EXAMPLE FOR TWO CHOIRS IN FLORID COUNTERPOINT

WITHOUT ANY GIVEN SUBJECT.

pczJM-jII5M==^=^xirj=:=E^^
ffi

^jd xz

Q o

IXr:^

'

-1^

-^

at-oi^EEE^
d^rp
i^

bdttfci:o!=z[

.=^(

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*=

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:M=:

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147

.4?

=^

-^

?^3 IS

^-

-^

F
-rz^

'

^-^ "

-^
-^>-

SI^=^

-^v

-I

r-T

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-7^=111: -^-^

ji^*

4=:

zs:

4=z
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Xi.

-^

-^Jr-

-Ci_

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L 2

-ct'

148

3:

^>-

r-sr^

4^ -^

-^^
'

4d
-x::*

f->

/.,

n
1

^^

'

-^>r-

'>"
<

-^r

T^r

'^f
n

r-1

^^'

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1
1

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221

-C-iL

JLZ

V^

^^
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'

t^

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^d

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-0.

_Ci-

_Q_

^Tf^~r =ft6r-'^ ^-

^:^
-^r

h^>

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y
149

-^

-R

-^ -^

-^-

P^

-C5

1-^

^J-

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ja:

-^-

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xi: -^),

I=]S=I

-^

z:r

-1^-

tt:

^
^

tt

^-

xz

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-^^

-^ xx

^^SEF^R?=f^1^
1*.

s^

'...-'

-^>-

-^

tt

-Irt-

ttf

:]f:

:M:

'

rt

tt

The examples which we have here given,

afford an idea of the manner in which counterpoint
must be treated, according to the number of parts
intended.

We see,

in counterpoint of note against

note, that, in certain cases, we cannot avoid unisons

or similar motion between the extreme parts in
passing to a perfect concord. Such also is the case

but as, in this species, we

our power to arrange the parts as
we wish, than in the former species, we must manage,
when unisons are inevitable, so as to attack them on
the unaccented times of the bar.
This caution was always observed by the ancient
classical composers, particularly in their compositions in more than four parts.

in florid counterpoint

have

it

more

in

150

BOOK

II.

CHAPTER

XVI.

ON IMITATION.

Imitation

when one

is

a musical artifice

part, called the

it

takes place

antecedent, proposes a

melody or subject ; on which another part, called

the CONSEQUENT, repeats the same melody, after
some rests, and at any interval, and continues in this
manner to the end.
EXAMPLE.
Antecedent.

-^

^^^

Sec.

&c.

Consequent.
'
I

-^

-Gi-

-#-

n-

-G>-

XI

-e>-

In an imitation, the consequent is not always

obliged to answer to the antecedent, throughout
the extent of the subject which was proposed
it
may imitate only a part of it and the consequent,
proposing in this case a new melody, becomes in
turn the antecedent.
;

151
EXAMPLE.
Antecedent.

i^Eizizot;

zizz^t^^
Consequent.

Consequent.

f\S
V ;

J^

f-i

r^

r^

!
1

Antecederit.

-e^

Z3:

-^^-

P-

::^:

t:=t

:t:

Antecedent.

3
1

C^-

1^^

Conse(juent.

3-

f^zii:

2'#r

:?d:

Imitation

'e>

may be made

-i

^*- a=

t-

in varions ways.

when we

It is

reply exactly to
called
by the anteproposed
the
intervals
the nature of
exact correwe
observe
an
is,
when
that
cedent
spondence of tones and semitones. In this kind of
imitation, we reply to a minor second by a minor
second to a major third by a major third ; and so
on.
This imitation is obtained naturally when the
CONSEQUENT imitates the antecedent in the unison
imitations in the fourth and fifth
or in the octave
approach, in some degree, to the exact correspondbut here and there accidental
ence of intervals
sharps or flats are required to render them perfectly
so
it is almost impossible to obtain this identity, if
we commence on any other degrees of the scale.
regulai-' or strict,

152
Imitation

is

called

free or irregular, when

not observed, and when we

assume the liberty of replying arbitrarily, and according to the key in which the intervals of the
CONSEQUENT takes place in this kind of imitation,
Ave may reply to a major second by a minor second
&c.
to a minor third by a major third
Imitation in similar motion is that in which,
as its name indicates, the melody ascends or deThe preceding
scends as in the antecedent.
examples are in similar motion.
Tho imitation is in contrary motion when the
consequent replies by ascending progressions to
the descending progressions of the antecedent, and
This imitation, like the preceding
the converse.
one, may be either regular or irregular.
Imitation in retrograde movement is that which
imitates a period, or a member of a period, by
taking it backwards that is, when the consequent
commences at the last note of that period of the
antecedent, which it is about to imitate, and re-

this

correspondence

is

turns back to the first note.

Retrograde imitation may be either regular or
irregular it may also be treated either by similar
or contrary motion.
There are several other kinds of imitations,
which we shall mention in the sequel.
shall treat on each of these species, beginning with imitations in two parts.
;

We

imitation in two parts.

first section. imitation in similar motion,

Any imitation, of what nature it may be, can

only be made in as many ways as there are intervals
in the scale ; that is, in the unison, second, third,
fourth, fifth, sixth, seventh, or octave, above
as well as below the tonic.

r
153
In the

first

example, we have seen the manner of

unison we shall now sucexamples of imitations in all the

treating' imitation in the

cessively give

other degrees. The student will observe, at the

end of each example, the word coda (an Italian

word which signifies conclusion). The Coda begins where we relinquish the imitation for the sake
of concluding without it, we should go on for ever.
;

EXAMPLES ON IMITATION.
Imitation on the second above.

a=3
:^

ft

ZX

W-jj-

"t-^-f

.^_
Coda

ti:^

-^

-^>r-

-^-

TT

"cr
or conclusion.

^^^

Imitation in the second below.

-o^

--=^^^ 3gE3E3^3Efc:^


154
Imitation in thu third above.

}^
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Ix^l

&-

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r^

Sr

-JhJ-J

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}^

^^y ^

-^

:;=T
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o'

<

>

t=^=^

c:

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Coda

:::>

:4=q:

:^=^

"cr

-^

^ -^

Imitation in the third below.

-^

:r^

^^^-^ rzz:p:

7^z:^-r\-rt

i^*-

l^-

-^'-

J-^'L^ -J^

-^,-

a:

:s2

lozin

Coda.

^^-

<

'^p-l-J

<

?^

Imitation in the fourth above.

iS

S3EEP=*3r^

-^

E
H

izzj

O
155

\-^^ -^:wqr^-w:{ -^

)if5333

:b
Coda.

-^r
'f=W^ -^3r

-^

i^z:

XX

''

=V-9^-t^-

Imitation in the fourth below.

^ - CJ

-^r

-^

mi

ti:

r-

-^-

r^
:siL

t:
-^

O
I*

'

:^

TT"

-l^

j=

:^f=i:

Coda

3^SI
3ti

:^
Tzy

Imitation in the

fifth

-Oi-

-^

"cr

1^

above.

-^

'

izizni itF

-^-

"O'

XX

1^T

"

-^V lO^

-^

-^

^ --i-n^

-
"TT

:j^

4:::

Coda,

^f^

-o

t==:i:

el

-^>-

156

Imitation in the

E
^

fifth

XX

below.

:=f:

E
tzgz^-iJz J

czc

^3
g^^

C?

O^

^L^T
^ IZSIZZO
'

Coda.

.^^n

-e3^

-^

^-^

-(-

-oh -o-

Imitation in the sixth above.

(

>,

-i-X-

C>

& -^

i
g

cT^'^'

(^

>

<

J~

^1

-e)r

-o

jE

-^^

:^3 ^
I

>

zoztf;

Coda.

yrry

^^^jS^

-^

Imitation in the sixth below.

I^P

-&-

-s -cy

q:


157

33
J

"Of"

"^"

-^-

^-^ :^

-^

zx

-O-r

-:#-

-C2-

-^

=Qh

Z3:

Coda,

Imitation in the seventh above.

-QL

gs^
?^==T=^

:f=?=^

^-jrjL

^-/'r*

|>

-J

-e3r-

ip-

^^^ESS^

^^

-^

'

"^

^- j:

~o"

Imitation in the seventh below.

"CT

-C

^b:^ -^

:^!=z* :^=p:

o;^

-^

^^


158
^^1

^^l

cj

Coda.

g^

4=

-G^

Imitation in the octave.

-^

y-

(3

t^

->^r5-

r:^
>z^

<^

''"^

r^
V )

T"

^
J

C)

<-

J
"

..__

_.

C^
1

tJ

"F

Hi'
J.

'

r-^
1

'

^^

-Qj-

'J

'

'

XX -^

^^=5:

-^

P=^
tst

"^

Ot-

:t=t

'^
r

T-^-r
J

L
i

-M

-e

&-

-Ci

"*

-r-

^
h

-^--*-

rr-

-^

-^
-G9r -c:^
,-^

-^-

159

The student must practise these different sorts

of imitations for some time but he is not restricted
to treat them always exactly at the distance of a
second, third, &c.
he may, without altering the
nature of the intervals, treat the imitation of a
second as a ninth that of the third as a tenth
that of a fourth as an eleventh
that of a fifth as a
twelfth
that of a sixth as a thirteenth ; that of a
seventh as a fourteenth
and, lastly, that of an
octave as a fifteenth, or double octave. The unison
alone cannot be displaced.
;

CHAPTER

XVII.

IMITATION EY CONTRARY MOVEMENT.

FREE AND IRREGULAR IMITATION BY CONTRARY

MOVEMENT.

To

obtain a fixed point from which to depart in

kind of imitation, composers who have written
in the classical style have employed the means
following
they placed opposite to a scale comprising an octave (suppose the scale of C), and,
beginning by the tonic, the same series of notes in
an opposite sense, in this manner

this

Semitone.

Semitone.

-^Semitone.

-^

^Ny^^
Semitone.

-t3-

160

By

we

this scale

shall obtain the free imitation

which

in contrary motion,

is

given in the following

example.
EXAMPLE.
Major mode.

rr^T Q

^h-^

-e^

sE

-^

^=^

-ry

Hj=fr-^

-^>-

lo:

Coda.

-J.

"^

This means
also its relative

will

->-

serve for the major mode, as

minor mode.

Relative minor mode.

^t

^-^

[J

f*

f^^V
V-

"O"

-^
J

xx

"
r

>

t^

o-

i;t:
Coda.

li^==-^e

X5^-

rz-L JQ-zrzzI

161

For this kind of irregular imitation in contrary

movement, we may also employ the following scale
opposed to itself, and this means will equally
serve for both the major and minor mode.

This scale furnishes the imitation contained in

the following example.

EXAMPLE.
r~r

-&

iio:

-^
-^

^^
-t^

-r

:f=:

-^

-^-

uti^

m^

-Ci.

tt

Coda.

-r

:p=^

-Qt-

t -^ XX :

From these examples, we see that, according to

the system of the first scale, when the antecedent
begins the imitation by C, the consequent must
reply by C in the octave if one begins by B, G,
or A, the other must answer by a D, an E, or an F,
&c. according to the system of the second scale,
when the antecedent commences by C, G, or E, the
consequent must answer by G, C, or E, &c. ; as
soon as the first note is found, all the other notes
follow as a matter of course.
;

162

STRICT OR REGULAR IMITATION IN CONTRARY MOTION.

For this species of imitation, we must have re-"

course to a method similar to that employed for
hut the scales to be opposed to
irregular imitation
reeach other are quite different in this case.
quire two scales in which the semitones shall be
placed on the same degrees, in order that, in the
imitations, the tones and semitones may exactly
correspond.
;

We

EXAMPLE.
-^-

TT"

TT
x:?"

-O-

-^

iq:

-^

To find the same correspondence of tones and

semitones in the minor mode, we must dispose the
scale thus.

EXAMPLE.

-cr

_^.

-Q

-^-

TX

"cr

X5:

TIT-

EXAMPLES OF STRICT IMITATIONS IN CONTRARY MOTIONS.

Major mode.

szt^i^tiz:^ -^>-

-<3f-

:i=:^ -o^

"cr

:^=jt

:jZJ_g_^

163

-^

3tS: EC

-e^

TV

22:

3O

^Q-

-^^

fi^

J J
Z^

Minor mode.
'*

""TT

-^>r-

-^

:3t=:i=S

-^

jJU<!j>

-^

:et:

-^

fi

tEi

ts>*^

-CX.

-^
loz

:^

f^

^
'-"r~^^T^
-^-

SE

r>

It is

H^F-^i;

-4fC^

unnecessary to observe, that, as often as we

change the key, we must refer all the scales which

we have given to the key in which the imitation is
made, as well in major as in minor keys.

RETROGRADE IMITATION

CONTRARY MOTION.

IN

All that we have just said equally applies to

retrograde imitation in contrary motion, which also
may be either regular or irregular.

M 2

'^

164

Retrograde imitation in contrary motion conas we have already said, in imitating a phrase
or member of a phrase by commencing with the
last note and returning backwards towards the first,
observing everywhere the contrary motion. This
may be done in two ways viz. bar by bar, or period
by period. We shall give two examples of these
two sorts of imitation, which will explain their
sists,

mechanism better than words.

EXAMPLES OF THE FIRST MANNER, BAR BY BAR.

Regular.

3f

O,

-^

-^

-^1-

Imitation of the first bar in reverse

retrograde motion.

-^

TT
The same with

XX
-Gf-

X3

the second bar.

Coda.

XX

TT"

-9-

Irrefmlar.

(*

"

ZX

=f:
-e)"-

^^if

165
"~n

i^^-

x"

xi:

XX

XJ"

~nr

-^

-o

KXAMPLES OF

TFIE

~rx

"cr

SECOND MANNER, PERIOD BY PERIOD.

Regular.

-&>-

o^

EE

i.

)f
......

f..

tr^
>

-CJ-

^^ c>
^-j-e>

"y

Fr-^T
Imitation of

e?

r=^=;^i
o^

<^
all

*33:

-f^4-

Coda

the period.

^-#^ XX

3^

I
PI

Irregular.

ms
y
[i^E

:P=^

i^rz^Jzzi

-^

r^t ^
dO^

=t:

166

We

have given examples of several ways of

treating retrograde imitation in contrary movement.
With regard to that in similar motion, we shall only
observe that it may take place in any interval like the
imitations in the first section
we shall not give
examples of it here a pupil may practise it without
difficulty, independent of any particular examples.
Besides, these retrograde imitations in similar
movement are less difficult to treat, than those which
we have already given in the preceding examples.
Such are the rules of the four principal manners
of treating imitation
first,
in similar motion ;
secondly, in contrary motion
thirdly, in similar
;

retrograde motion
grade motion.

and fourthly,

CHAPTER

in contrary retro-

XVIII.

SEVERAL OTHER SORTS OF IMITATIONS.

The other sorts of imitation which remain for

us to mention are
imitation by augmentation ;
by DIMINUTION ; with reversed accents inter:

rupted; convertible; periodic; canonic; &c.

167
All these imitations may take place in any of
the four movements already indicated, when it can
be done without falling into inconveniences which
would fetter either the melody or the harmony.

Remark. The imitations wliich we have hitherto cited, as well

as their deuomiuatious, are extracted from the treatise on Fugue
and Comiterpoint by Marpurg the student may consult it for
information on this subject and for such imitations as we may have
;

The work of Marpurg*, relative to Imitation,

omitted here.
Fugues, &c. &c., as well as to all other artifices of composition,
This is the reason
is one of the most complete of the kind extant.
why it is so generally consulted.
Imitation by augmentation takes place when
and the consethe antecedent proposes a melody
quent answers it note for note, always augmenting
the duration or value of each note.
;

EXAMPLE.

f-^
^ e * c^

^^

m^^ -^

c >

e,

1
1

t_>

w,1-

-G>

<'~>

-^

y,

^
r

-^r

Coda.

"cr

-&

H-

-o-

cr

Translator of the present work will shortly present to

an English version of this justly celebrated treatise as
also of the entire theoretical works of the late A. Reicha, the
most distinguished modem theorist, to be published by Messrs. R.
Cocks and Co.
*

The

the public

168
Imitation by diminution takes place when the
consequent diminishes the value of the notes which
constitute the imitation.

EXAMPLE OF IMITATION BY DIMINUTION

T-

^
r-ft

'

-^

-G>-

-^

X2

a=N=f=P=^^Ji3=''

^^
-^^

-^

-O^

-^7=^

"cr

r-jl

-^:2t:

-q:

:P=^

-^

X5

J.

-^r

-d-^

-Ci.

Coda.

it^ZI^^

-^ -^
:t::

Imitation with reversed accents takes place

the parts follow on opposite times of the bar

when

169
that is, when one part begins on the accented part
of the bar, and the other repUes by beginning on
the weak or unaccented time.
This artifice is frequently obtained by the use of syncopation.

EXAMPLES OF IMITATION WITH REVERSED ACCEMTS,

OR BY ARSIN AND THESIN.
Accented time.

(m^
Weak

e^

-^

2X

-^

x>

time.

ii

-^

:t=

->-

"cy

bz^

3,

(^

-^

-^

XT

~Ci

=Z3:

-Ct

-^r

^~^

iS=E

kzilzzt

-^

JLJU.

-^

Tzy

:^^

,^
C JL

i^^

I=5t
-oH

170

* !-

smzw. E1

k^-

K-g-iri-

lilzk

^gg
*5^

^-F=-

F-?

t^

zx

=?

tiy

1*^"

Interrupted
by means of

imitation

is

:i:

:;i=^

formed by suspending;,

rests in the consequent, the continuous

progression of the notes of the melody proposed

in the antecedent.

EXAMPLES.

LSCO-

f-

3S
E
^>

^
qL

-Cit

e3-

-Oh

a:

ICX

-^

-n

3^-|

p
.

^
ij.

-I

CT

-Qu

:^=|

ffi:

w
-&

-&l==

-Or

I-

^>-

r x

-^

171
Coda.

cf

-o

-o-

cr

'

^f^

^^

-Qt

A CONVERTIBLE imitation is a period written in

such a manner that the parts may be inverted without any farther change that is to say, that the upper
part may become the lower, and the lower the upper
;

construct this species of imitation, we

must not use the interval of a fifth, except by transition, because the inversion of this interval produces a fourth. This kind of imitation is, properly
speaking, a double counterpoint, as we shall
shortly discover.
part.

To

EXAMPLES OF CONVERTIBLE COUNTERPOINTS.

-^

jTT

H^

53

^.f

o^

Inversion,

f'^

^^

&-

CL

f f r r

^^
o^

S3.

^h- i=i

i^
+^

rrs-

-&

-&-

^=i

Z5

^>-

&^

i^

Z2:

^i

172

IzE

-^-

-e>r

^Qp

^?e

/-nr

r::g^

=[

-^

^:^^=P=^ :ft:i:
:?

-^

I:

^^iT-e,--

^^^

-9r

32ZZE

^-

i^

:^-^:tz

:^=^ i^zjt

Inverted.

?S n

^^,,.

"^
f/r>>

I-*

,1

.Q

-^r

^P^^

l>

-rtr^r ^^fcfE
i

'1

r
CJl

-9-

-Ci.

-t9r

II

1*

^ ^J J
O

r
1^1

rnixrf^^^rw
m
E -^

1
II

J
^5_
J

-TT
JQ-

-*-

Periodical imitation takes place when we only

imitate a portion of the melody or theme proposed
by the antecedent.
EXAMPLES OF PERIODICAL IMITATION.

~-i^r-^~^^

e-

-W-

----A-

J^EZ

a=i=s

S3

173

-^

-CL.

-t?
ff
vW

c>

:ii=et=e[

-f

<->

-Tcr

--

/_f-L
>%.

51^3

^ aO- d

r>

ri

L_

r-

_ ___r__

^
1

L.J

.
_

a3

r->

3S^
-^

Lte^E^

^^

-^>-

-^

-^

=et

-e>-

atif

-^

H:
ijzt

:P=^

:p^^

G)^ X2:

_^i_.

F^

Canonical imitation is that in which the consequent replies to the antecedent, note for note, from
the beginning to the end. This imitation, which,
as appears from its name, becomes what is called a
CANON, may be treated in two ways; viz. as finite,
when it terminates by a coda or conclusion, and as
infinite or circular, when it is so arranged that
we may return from the end of the imitation to the
commencement without stopping.

174

EXAMPLE OF FINITE CANONIC IMITATION.

-^

-CL.

JTi-

cr

iinUIL^-^
^

o
e

iF^

-G>

;s

Ty

XI

-Q^

=t
J

22:

::^

^^

^>-

-^

^^^^^F^^
^
jH'

-t-

ex.

^^^==^=3

^S

J
175

-ti

3:

<

>\

T>.

Coda.

=??

:it=t

:i=?L

EXAMPLE OF AN INFINITE CANONIC IMITATION.

-^

-^

jg^
:^ -^

<

-o

-ry

o^

fc^

;it=

lio:

5Ei

r>

rY^

-^

3:

E^

#=?E=P

=P:

i^
-^-

=:^;

-fP

'*)

*"

-^^^-^

176
-^-

-^1-

=[::

The

i^

-^

{--

pupil should exercise himself, as

possible, in all these imitations, in all

much

as

movements,

and in all intervals. What we have explained in

the preceding sections, relative to imitations, will
be sufficient for this purpose we shall now proceed
to treat of imitations in three and four parts.
;

CHAP. XIX.
IMITATIONS FOR THREE AND FOUR VOICES.

All

we have
two preceding sections, may be treated
in three, four, or even more parts.
Azopardi, a
Maltese composer, has made use of two subjects,
on which the student may endeavour to place all
sorts of imitations, either in some interval above
or below. I think that this method may be taken
at first; and that it cannot but be very advantageous
for the study of imitation, and to the progress of the
spoken

the kinds of imitations, of which

in the

student.

AZOPARDI

TWO

SUBJECTS.

First subject.

^; -lot:

tt

-fei-

==

:tt

*:r

111
Second subject.

hi-

^=r-K-i

"St -ic^-

^Ezlzz:^

g^EEB

jgbz^rr-

:= 31E t^
tt

i^t-

==M=i

EXAMPLES OF IMITATIONS BY AZOPARDI IN THREE AND

FOUR PARTS ON THE ABOVE SUBJECTS.
In three parts

that

is to

say,

an imitation in two parts on one of the given

subjects.

3!

-ry

3!

mII

=a:

tt
JQ.

3:

qt=fc

-^Imitation in the unison.

^'

^-

Xlt:

tt

-^-

"ZJ^iI

/^

-^
-d..

:3=r=:p=:?=F:

-3-

Si

=t:

tt
N


178

:tt

-^

tt

H^

^^

tt=

Third part ad libitum.

In four parts.
H

1-

-JJ^^

^^^^
^S

"O

M.

=^

-3r-i-

-44.

e^ 41^

-1/

&

-^-

Imitation in the second above.

Tt=P=^

-Gl-

ai:

rx

:3t:

179

4=f=f=^

e>-

r^

-f

>

-*

-o

"Q-

tt
=:

TT-

-^
-^

-e>

^-^:ir-^-t^,

SE
o

i^t

^^

C-ij

r- n-

-^

^Tn

=1^

:z3:

tt
N 2

|-

:^=

180

tt=:

-3-

/T^

"W

'^S

TIK

-^

g]

n:

::feT

^
tt

=FF

In this last example, there is one part which,

belongs to the whole, has no analogy to
for this reason it is said to be ad
the imitation
libitum.
The same thing must be done if we wish
to have four parts, and content ourselves with
writing on the given subject an imitation only between the two other parts. If we wish to have on
the subject three parts in imitation, there will be
two consequents, both of which will imitate the
subject proposed by the antecedent, either in the
thoLio'h it

same

or

some

different interval.

After the student has sufficiently practised

writing imitations on the given subject in two parts
only, with or without a fourth part ad libitum^ from
imitation in the unison to that of the octave inclusive, he may undertake the practice announced
above that is, tlic introduction of two consequents,
by which means he will have a double imitation.
;

181
EXAMPLE.
Antecedent or Theme.

f=^

-e^'--

-^-

X7"

First Consequent, or imitation in the

seventh below.

-^r

-t=

-^

Subiect.

11

-^p:

nl-az:

^zzpzet

^3EH

X3Second Consequent, or imitation

in the fifth below.

-O."-

-"&'

i^fi
Z3ZZX5"

f=r^=
:

:i2-

:^t:

-t

4=-

j^t:

182
-^-

=:

-^5^<7\

-^-

Aelh

tt

tt=

Before we proceed farther, it is necessary to

observe that this subject may, if thought necessary,
be written in semibreves, thus
:

^1"
i

^ ^

instead of

"^

its

>

,_^
^-'

>

c:>
1

being written in breves.

When the student has sufficiently practised imitations between two and three parts on the given
subjects, he may exercise himself in treating imitation in three and then in four parts, without any
subject being given.
On this head, he will do well
to consult the work of Marpurg, in order to see all
the combinations of intervals by which imitations

may be effected. It is to place under his eyes a

great number of examples, that we recommend him
to consult the work of Marpurg.
shall give two examples of imitations
the
first in three parts, the second in four
which will
suffice to give an idea of this kind of practice.

We

r
183

EXAMPLE

IN

THREE PARTS.

Canonic imitation.

S^-^1

1=:

=?^

V-

-i-ii

=^-

?=P=^
Canonic imitation

-Ol

--^

in the unison.

r^

;=f^:

m
nx;

=^-=Qiz=^z=sc=^

:^

:^=f^:

1=

Canonic imitation
-9r

in the octave below.

-^

:^'-

-m-

-I*

-^

:f

I;-

a==t

:^=t
&

&

-^

-T--t

^-

-dY-&

J:
-Gf-

"O

:i=^

-^-

S
:P=Pe:

^
"Cl"

3: -^

-&

-^o-

tt

51

M
::

184

EXAMPLE

FOUR PARTS.

IN

A Ih reck tsberger.
Regular canonic imitation.
3

&r-

^==^3

-G3r-

Imitation in the

3!

-^

fifth

^-r^

below.

"cr

-^

IE

Sie
-^j

:izz^ :m==

1-

-^-

Imitation in the eighth below.

-^

c:i_

^H-^

h-

:^ ^^

-'T

r-f

t^r^H-

Imitation in the twelfth below.

g]

-4-^-

^S=E

-^r

^-:

^^e

^f^

^>

^
SiS

-CS-

r>

-O-

^1

f&

rij

185
-^r

5Ef?E^

^-t

&=E

:o:

I*

I*-

P-

{^I0^^-

^W=^

l=F^

?E^E

5=t=
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^
186

S
^et: 4^

:tfo:

=1^

:=r-^r-

-CX

^;
s

-o-

The student must

also exercise himself in treatimitations for five, six, seven, and eight voices,
either on given basses, or without any part being
given in which latter case the composition M'ill be
wholly by himself. Ad libitum, or accompanying

in!;

parts,

may be introduced when he cannot succeed

in finding regular imitations in all the parts.

Before we terminate this chapter, we shall explain another kind of imitation, which may be
practised in eight parts, by means of two choirs.
This imitation is called inverse contrary imitation.

EXPLANATION.

theme

in four parts is proposed by one of the

the reply must be made by the other.
That (he reply may be inverse, the bass of the
theme must be placed in the soprano part in the
reply, and the soprano part placed in the bass
similarly the contralto part must be given to the tenor,
and the tenor part to the contralto.
That the reply may be in contrary motion, each
part of the reply must answer, in contrary movement, to the parts which proposed the theme, and in
the order above explained.
To obtain this artifice, we must observe the
following rule
none of the lower j)arts must ever
stand in the relation of a fourth to the soprano

choirs

187
part, unless such fourth should afterwards proceed,
by a single degree, like a discord of transition.

With regard
obtained by

must be
Chapter
Still, how-

to the contrary movement, it

means of the scales given in

XVII, in treating

on contrary motion.

ever, to facilitate the understanding of the manner

in which they are to be used, we shall again introduce them here, in the following order
:

CORRESPONDENCE OF THE PARTS ON INVERTING BY

CONTRARY MOTION.

^ ^

=i=^

-^^^^

f^
i=3= <3-

-Ci-

V
A

188

We shall i;ive other scales which have not been

mentioned before in treatino- on imitation in contrary motion for two voices, and which may be used
when we wish to introduce the chromatic genus for
the purpose of modulating.
CHROMATIC BY SHARPS.

V V V

k?:

AAA

"i

^^oNe^-gj

-Gh

-O

_CJ'_

AAA

A A
5^

"c'"

-*i^il
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jri '-- "O i

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5i3=.^^5i^^5
!-

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^^

V V V

rf>l
-Gl.

CHROMATIC BY FLATS.

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=f=,

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jrrinx:^

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189

ANOTHKR ARRANGEMENT OF THIS LATTER

AAA
fe=^^S^I^

S -^

i^z:

SCALE.

&

V
A-^-

o1 5^=^
V V V

o-

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:^^[7

_Ci

AAA
*
^

Z2

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Si^

-^

TX

V
A

-o^

o-

:^F

In

We may employ the scale No. 3, when from the

key of C we desire to modulate to its dominant
and we may use scale No. 4, when from the key of
C we wish to modulate to its subdominant. See
the following example
:

Theme.

XT

-^

zz:

^t
^^^^

TU"

TDjz-

-Oi-

-^-

-C3-

-^i:t=:

'

'\~^^

190

Reply

in inverse contrary motion,

-^

-^

-J

-r-

according

to

Scale

I.

r4=--

TT

-^

3zi

LJ

!_

:p=p=3t

-^-

Theme.

-^
-of=zi=p

-^
_CL

^^=^^^^a
53i^.E^:E^E^E^

-^-

191

Inverse contrary reply, according to Scale IV.

(*^3i

^f3-

;i=:z:=g:

-&-

-CJ_

^W=^

Before we give an extended example of this

kind of imitation, it is necessary to state that it is
indispensable that the reply in inverse contrary
motion should commence before the period of each
theme is concluded, or at least towards its termination
the succeeding theme, in its turn, must enter
either before the reply or towards the end of it.
;

According to this rule, we must combine the harmony

and the parts so that they may lend themselves to
regard to the entries. An
perhaps better explain what we have

this arrano-ement with

example
just said.

will

192

EXAMPLE OF A REGULAR PIECE COMPOSED

CONTRARY IMITATION.
Theme

IN INVERSE'

or subject.

-^

-^

^ :^=^

^t

:^=^

3^^

PTT^oT-^

^If-i.
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<

<

Answer

03

O
W
o
c
o

-J

ffi

in inverse contrary motion,

-^

>.

according to the

firet

Scale in C.

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193
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194

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195

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196

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217
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219

BOOK

III.

ON DOUBLE COUNTERPOINT.

CHAPTER XX.
Double counterpoint

is

a composition in which

the parts that are added are so artificially combined,

that they may, without inconvenience, be transposed
from ACUTE to GRAVE, if they are placed above the
theme or subject or from grave to acute, if they
are placed below while the theme undergoes no
change in its melody, whether it be placed in one of
the extreme parts, or in one of the intermediate
;

parts.

Inversions may be effected in seven ways

there are, consequently, seven species of double
counterpoints viz, in the ninth or second in the
tenth or THIRD in the eleventh or fourth in
in the thirteenth or
the TWELFTH or FIFTH
SIXTH in the fourteenth or seventh and in the
fifteenth or octave.
Before we proceed to speak of each of these
seven species separately, it is necessary to observe
in general
first, that for any double counterpoint
the parts must be distinct from one another, as far as
can be, by the value of the notes: that is, if the
theme is composed of semibreves or minims, we
must, in the counterpoint, oppose to it crotchets or
quavers still, however, in that varied manner practised in florid counterpoint.
Secondly, that the part
which contains the counterpoint must commence
after the theme.
Thirdly, that we must not, without
;

220
cause the parts to cross one another hecause, in this case, the intervals will not
chans^e in the transposition or inversion of the
counterpoint from acute to grave or from grave to
acute.
Fourthly, that in all double counterpoints,
except that in the octave, it is not only permitted,
but even necessary, to alter the quantity of the intervals, by means of sharps, flats, or naturals, on
the inversion, if the modulation requires it.
sufficient reason,
;

DOUBLE COUNTERPOINT IN TWO PARTS.

CHAP. XXI.
INVERSION IN THE OCTAVE.

When the inversion or transposition of a part

takes place at the distance of an octave or fifteenth, the counterpoint assumes the denomination
of a double counterpoint in the octave.
To learn to construct this counterpoint, we must
know what intervals are to be avoided, that the inversion may be correct.
To obtain this knowled<re,
we must place two rows of figfures, proceeding- from
unity to the number 8, opposing one to the other in
the following order
:

2
7

3
6

6
3

7
2

The figures in the top row indicate the intervals

of the counterpoint those of the lower row, the
intervals which result from the inversion.
see,
therefore, that 1 or UNISON is chano:cd into the
;

We

221

OCTAVE the second into the seventh the third

the fourth into the fifth ; and so
into the sixth
on with the others.
must not too often use the octave and unison,
;

We

because they do not produce sufficient harmony,

except, however, at the commencement or end of the
theme, and when we desire to employ syncopation.
EXAMPLES.
(zR:

X5

a:

-^r
TD'
Inversion.

"O-

W^^

-&-

-^

We must avoid the fifth, because by inversion

becomes a fourth. It can be introduced only as
a passing note, or when it is used by syncopation.

it

EXAMPLES.

=rR^E^

-&

_Q-

Ty

^m

-^
-Q.

-^-

r4r~>
n

Inversions.

3I^-ii-^-

se^

i^

-^'-

-^

-ry


222

The FOURTH
niences and the

is

siil)jcct

same inconve-

to the

same exceptions

must be excluded or admitted

like

as the

fifth,

and

it.

All the other intervals may be employed, if we

must also
observe the laws relating to them.
take care not to separate the parts beyond the limits
of the octave for the intervals which exceed these
bounds undergo no change on the inversion that
is, the third remains a third, the sixth a sixth, &c.

We

EXAMPLES.

a:

a^

-^

fl

-^
-G^-

"cr

We

shall now give an extended example of double counterpoint in the octave, in which the student

how all the different intervals may be employed so as to ensure a correct inversion.

will see

223

j-

-aj"

-^

>-^

_Ci

t-

1^

-^

-^

G^

1.

X-

-C

:zx

:i=i=zt

C^

r^

:=]:

-^-

T3-

o^

-3^

-^-

DIFFERENT WAYS OF INVERTING THE PRECEDING EXAMPLE.

First \vay.

from acute

ii

Theme.

Inversion in the
octave.

Invert

the counterpoint an octave,

to grave.

TD-

^rs j;

t='^

1-

:it:3=it

B
-oH

224

Second way. That the counterpoint may be in the

we must invert it thus, a fifteenth lower.

fifteenth,

Theme.

"TT"

ZJ

Inversion in the

3h

"cr

^=*^

^^

fifteenth.

Third way. Transpose the theme an octave

higher, and the counterpoint an octave lower.

-^

Theme

transposed an
octave higher.

Counterpoint tranan
octave
sposed
lower.

-OU

-QL

-j-^

^=P

I
-e3-

Fourth way. Transpose the theme an octave

higher, while the counterpoint remains in its place.
Theme

transposed an
octave higher.

Counterpoint remain-

ina:

as at

1^=^

^4=3 =^

first.

Before we proceed to another species, it is essenobserve that the dissonance of the ninth cannot be used in double counterpoint in the octave,
because it cannot be inverted.
Double counterpoint in the octave is one of the
kinds most generally used.
tial to

225

CHAP. XXII.
DOUBLE COUNTERPOINT

IN

THE NINTH.

When the inversion of a counterpoint takes

place in the ninth, either above or below, it is
called a double counterpoint in the ninth or second. The combinations of this species of counterpoint are obtained by niv3ans similar to that
already employed for counterpoint in the octave in
other words, by opposing to one another two series of
figures, each of which series is bounded by the
figure indicated by the name of the counterpoint.
Hence, as each series in the counterpoint in the
OCTAVE is composed of eight figures, so in the
counterpoint of the ninth, of which we are now
treating, each series must be composed of nine
figures.
It is the same with all the counterpoints
which follow these, and for each of which we must
employ its proper progression
viz. for counterpoint in the tenth, ten figures
for that in the
eleventh, eleven figures and so on.
give
this explanation here, that we may not be under the
necessity of speaking of it again, when we treat of
the subsequent species.
This, then, is the series of fio-ures which belona*
111
to double counterpoint in the ninth
;

We

2
8

3
7

4
6

5
5

6
4

8
2

9
1

From this scheme we see that the unison is

changed into a ninth the second into an octave
and so on. The fifth is here the principal interval.
It merits the most attention, either to prepare or to
;

resolve, not only dissonant intervals, but also such

as become so by inversion.
The discord of the.

^
226

Founrri resolved into the third, that of the seventh resolved into the sixth, that of the second, &c. these are means proper to combine a
The counterdouhk^ counterpoint in the ninth
point must be confined within the extent of a ninth,
for the same reasons as that of the octave must not
exceed the limits of an octave.

EXAMPLES TAKEX FROM MAKPURG.

Counterpoint.

}-^'

K^

-^

-63-

-WZ

Theme.

O"

lEt
Inversion in the ninth below.

i^i^zil

6 ^__^

.rj-

^^=
lET

r?"

pzzt

-^

m =EE^

-f-

1^-

^^-

:^=P:

-ir-i^

-j-j-

227

By transposing; the theme an octave higher, and

the counterpoint a note lower, we shall have a double counterpoint in the second.

"^

-f

7.

-^

By transposing the theme in the second above,

and the counterpoint an octave below, we shall have
the following- inversion, to which accidental sharps
must be added, because the key is changed.
-f-

-^

D-

^-

SI

.O.

*=i^
--

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-iir-^

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^zE

3iMr -^

-Q-

-U=^

-f-

:zx

saS^^^

_Zi.

ip^TF

iit

Q 2

228
OTHER EXAMPLES.

(1)

(2)

^^G^

:=I=1-

-I

1-

^ir-^
Inversion in the ninth.

-^

WL
L-r-*

(3)

^:

3t^:it=i=:it

TF

i:^!!^

^^^

"O
-i:^

q:

^HTx

-^r

-t-h

iii

.jm^

az^ 21

-^

^^
^-1-

t:

:ijj_jj

:iz:i:

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-^

.!:

-I

gq
i:

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ii?^

-1

v^

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^ -^

ko,

[--

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4^-1^

229

Of all double counterpoints, that of the ninth is

the most sterile and ungrateful in practice
it is
therefore one of the least used
and, when we do
have recourse to it, we should employ it only for a
;

few bars.

CHAP. XXIII.
DOUBLE COUNTERPOINT

IN

THE TENTH.

We

shall now treat of double counterpoint in

the TENTH or THIRD, beginning, according to the
usual rule, with the two rows of ficrures.
1

10

3
8

5
6

6
5

7
4

8
3

9
2

10
1

From these two series we see that we cannot employ two THIRDS or two TENTHS in succession, because by inversion there would result two octaves
and two unisons.
That neither can

M^e employ two sixths in succession, because the inversion would produce two

FIFTHS.

That the fourth and seventh can only be used

as discords of transition (Ex. 1); unless the fourth
be resolved into a fifth or sixth (Ex. 2) or the
SEVENTH be resolved into a fifth (Ex. 3).
;

EXAMPLES.
(1)

^^

i-ih

:^=M

ir^

TT

-^

-trr

it-^-*
Inversions.

-^
3?

-^

-t:=^
^-^

230

-^

(3)

O^

^^

-^
'">!

:'^:

2X

_Ci-

.Q

-^

-Or

(il

1
1

And
the

that we must resolve the ninth, either by

OCTAVE or by the fifth, in this manner
:

9
I

<^l

-Oril=ft

-^-

"cr

"^^

Inversions.

~^^

-^

T::3h

X^

J
-xy

From this analysis, with intelligence and application, the student may exercise himself in this species of double counterpoint, of

give an extended example.

which we

shall

now


231

3^=i:

(Tf

Theme.

m^

-^

TX

-e3-

-I

F-

p~

TX

ss

t^Jr

"O!:t=^-

-^
3=:

:>-

.CJH

f
:^=:it

--^

xi:

1=

=3^J=J:

-^-

-QU

-^^

-o-

-^-

-C3^

We may invert this counterpoint in various ways,

VIZ.

First.
By transposins; the counterpoint a tenth
below, while the theme remains in its place.
Theme.

-^

-rjr

-0_

CoQiiterpoint in the tenth below.

zstz

-^
^-f^'-f.

:p:3I^_izi;^_:p:_y=-:

232

Secondly.
By transposing the theme a third
above, and the counterpoint an octave below.
Theme

in the third above.

-^>-

XZ

-o-

Counterpoint an octave below.

i^U

-^

mi^
Thirdly.

By

transposing

counterpoint a

the

THIRD lower, and the theme an octave below.

Counterpoint a third below,

ju:

Theme an

3i TT
Fourthly.

fr^-^-J

i^te

octave below.

_CJ-

By

transposing

both

counterpoint

and theme a third higher.

':^~7'i

.Ot_

p-J^ztpu

^e^t U
'

l^s

G?

-M--

-J

L^

^H

In all the inversions and transpositions of this

example, it will perhaps be necessary to add accidentals either to the theme or to the counterpoint,
and sometimes a third part, to render the whole
more correct in point of harmony however, we
have indicated nothing of this above, as a counterpoint may be so constructed as not to require any
:

233

The

such alterations or additions.

above given merely serve to shew

short examples

how many ways

may be inverted.

in

a double counterpoint in the tenth

This kind of double counterpoint, like that of the
octave, is one of those most frequently used in
practice.

CHAP. XXIV.
DOUBLE COUNTERPOINT

THE ELEVENTH.

IN

We now proceed to treat of double counterpoint

eleventh or fourth, the combinations of
which we shall analyze by the usual means of two
rows of figures.

in the

10

3
9

4
8

6
6

7
5

9
3

10
2

11
1

From this formula, it appears that the sixth is

here the principal interval, and that with it the counterpoint must begin and finish.
By this interval
also we must prepare and resolve, not only the dissonant intervals, but also those consonant ones which
change into discords by inversion.
EXAMPLES.

234

t
3^i

-Of

t--

-^

Ty:

-^

_o:

fi
-^
2

-^-

v^

S a:

9^&r

-&--^-^

-^

-o-

-^1

1=^

-^r--

-3^-

?R=

-^

^S
(ij>

o_

^
^v.

:t:

cS^^^^

<-J

r>

235

The

interval of the eleventh serves as a limit to

counterpoint.
shall now give a more
developed example of this species.

We

this

XE

-Of-

-^

-G>-

Xi

Theme.

^^

-^Inversion in the eleventh.

p=i
li^lftf^-

f-^
/[
i(^y
V

.:rW -9-

c>
(~)
'-^

<>

r-y
'

'

II

n
H

Ij

f]

ds

'

^?-o^"7>

V v^

1-

r^

J.
V

ie

t=M-t:

^r

-^-ih~

-B-\

:P=^^ zo:

Second inversion. Transpose the theme a

FOURTH above, and the counterpoint an octave
below.

rr-

-9^

^\)-&.

-i

-G^-

=ri=3

-o^

^i


236

Transpose the theme a fifth

remains in its place.
counterpoint
below, while the
Third inversion.

^^

-ri-

?r

-^-

-^r

-3|-

-^ ^

b^

\jr^

-^

Fourth inversion. Transpose the theme a

FOURTH above, and the counterpoint a fifth below.

TT"

-^
J

O,

^h-

U-

=p:n: :i=:^=:fi

m
:q:

1^=:^=^

-^^-

Transpose the theme a fourth

Fifth inversion,
below,
and the counterpoint a
above, or a fifth
a
below.
fourth above or fifth

JZuli^
-M-

se

f=ff=F? TX
-r^

-^

_QL

Or

--f^:^ b^

.t^

-^)^
"C^i

xz
-^

Double counterpoint in the eleventh is, of all

those double counterpoints not much used, that
which may be employed with the fewest inconveniences and difficulties.

237

CHAP. XXV.
DOUBLE COUNTERPOINT

IN

THE TWELFTH.

...

The following:
o are the two rows of fiojures that
must be compared together, to obtain the inversions
of a double counterpoint
1
2 3
12 11 10

From

4
9

6
7

5
8

the

in

twelfth

9 10 11 12
4 3 2 1

8
5

7
6

scheme we see that the unison or

changed into a twelfth,
the second into an eleventh, &c.
The SIXTH, which by inversion becomes a seventh, must be prepared either in the top part or in
the bottom part, and the bass must then descend one

OCTAVE

this

is,

in this species,

degree.

x^
-jzzzs

3=
T^-

Inversion.

-^

ll

xs:

^
G

infzinzzp

W~i~T:

:w=^.

11

^^3E3EE^E3^^3EE5^=^

^^m^^m^
8

-^

238

-^
5

:^=-1^:

3i=i:

-^
-?::r

:^

x:i-

xrt-

DEVELOPED EXAMPLE OF A DOUBLE COUNTERPOINT

TWELFTH.

-^

5z:!xzzo:

xx

IN

THE

jL^-,-^-P^^--,
p=p
.?5E=5^E^:
a
SSE^ izzt

Theme.

TTT

O^

-^'

-Jt=^

lo:

r .-f^
I

|:=g=r=^=^-^

-^>^-

:3=?

r:?"

=t:

-^

ai^fe'S

1^=^:

..<~>.

-^

:^

t.--

First way of invertino-.

Transpose the counterpoint a twelfth below, while the theme remains in
its

place.


239
Theme.

5EEES5?

^it

-^

i?_v^

Second way.

Transpose

theme a

the

above, while the counterpoint remains in

IJ^ t-P-:3t:

fv=^

:^=f:

its

-^

:^EEa^==E

twelfth
place.

fi

T3L

X2

(l;

Transpose the theme an octave higher, and the

counterpoint a

fifth

lower.

-Q'

-W:
'

triw:

:^-

f^

xz: -I
-J--51

Fourth way. Transpose the theme a

higher, and the counterpoint an octave lower.

le^^:^
^

^Jr

Jifi/i

lizii.

-^--e>

=^-R-

-^r

-f^-^-,

-rzzzt

This double counterpoint is one of the most

and most fertile in resources.

useful

240

CHAP. XXVI.

DOUBLE COUNTERPOINT

IN

THE THIRTEENTH.

in the thirteenth or
obtained by the same means as other double counterpoints ; that is to say, by the two rows of
The scheme which belongs to this counterfigures.
point is as follows

Double counterpoint

SIXTH

is

1
2 3 4
13 12 11 10

5
9

7
7

It is easy to see that

8
6

9 10 11 12 13
1
5 4 3 2

we cannot,

in this species,

employ two sixths in succession.

As the SEVENTH cannot be regularly resolved,

it

can be used only as a transient dissonance.

The SECOND, THIRD, FOURTH, FIFTH, and NINTH,
must be prepared at one or other extremity by the
SIXTH or the octave, and also resolved by one or
other of those intervals.

EXAMPLES.
rcT
szziii:

7-'=\

?^SE
-^>-

-xy

t-^

ZX

^
9

^^-1

=^i==|:

Inversions.

3gp

.3

t:

t^

-^
=:e

-t-J^-

dzz:

241

m H

:^

^^^^^^
9

'^
H

W: 131

1-

^^

^^

-GJ,--

is:

-O

-^tr

3^J

-3^-

zp:

B-<^

3^
8

Or--

:g
6

:iizj^:

3:

zx

-^

E=^^
4X

4X

:^

-Or

-9r

t==e[:
9

^.
Si=_etz:

.=^

-o-

^
-e9r-

:ti=ilt:

242

^e:: :^
XX

-Q

^Or
The

-^-

i^

interval of the

to this counterpoint.

-^-

-^

-er

-CiL.

^^=

:^

thirteenth serves as a limit

We shall now o^ive an ex-

tended example

of double counterpoint in the

or SIXTH, observing that this counterpoint is less frequently used than counterpoints in
the OCTAVE, TENTH, or TWELFTH.

THIRTEENTH

EXTENDED EXAMPLE.
'

<

r -H^-

O:

s^^5

m^-l^^=i==^

-&.-

243

F=^--

-^

'fJ

-^

ZlT.

:P=^

p^^p

:z3:

"O"

I*

This counterpoint may be inverted by first

transposing the upper part a thirteenth below the
may then transpose the theme a sixth
theme.
higher, or a third lower, while the counterpoint
remains unchanged
we may also transpose the
theme a third lower, and the counterpoint a third
higher, &c. &c.

We

CHAP. XXVII.
DOUBLE counterpoint

It
in the

IN

THE FOURTEENTH.

now remains to speak of double counterpoint

fourteenth or seventh. The two rows of

figures

12

which give the inversions are as follows

3 4 5
14 13 12 11 10

6
9

8
7

9 10 11 12 13 14
6 5 4 3 2 1

244
According to the combinations above, we must
avoid two thirds in succession, particularly in
as, by the transposition, they prosimilar motion
duce two FIFTHS.
Every consonance, as well as the octave and
SIXTH which become dissonances by inversion, must
be prepared and resolved either by the third or the
;

FIFTH.

EXAMPLES.

-^

:^

-Or

I
-e>-

-ot-

-^

riz^z
5

Inversions.

XX

-^r

^^X

zx

&r

lo:

<.:^i

"

-r

St

-^

:^=:

-o^

"O

TJr

-3^

:p:

--^

o^

245

^2

^^^
^

Z3

C5
2

Ty

--

TT.-&r

"cr

zx

r>

-^

:io:

:^

L:

:gd^

i
I

-^

-^

-^-

The interval of a
to this counterpoint.

-^

:^r=m

fourteenth serves

AN EXTENDED EXAMPLE OF COUNTERPOINT

as a limit

IN

THE

FOURTEENTH.

1^

dEE

:?c=i:

:t5

4=

Theme.

i
[^
First

-^
way

of inverting.

'">

pj'C-i
I >

r
'

-^

'

*"

'

^^--x

^^

l__J

'1

i
1

UlS?_l

246

~WF~

--9r

#^P=3^ *
^^'
^
! r

m
^

'

i>
p
r
^*?

CJ

g=ry

f~->

^-

:g:

'

!.

n5r

~
W=i^
w

m
r

*- -

'

'

'

-^-

"cr

-C-Ii.

i-

Second way of inverting-. Transpose the theme

a seventh higher, and the counterpoint an octave
lower.

-e>-

S ^-

-^-

?^

247

Third way. Transpose both the theme and the

counterpoint a seventh lower.

:i=it

^;

-^-

-jry

-^-

CHAPTER

XXVIII.

TRIPLE AND QUADRUPLE COUNTERPOINT.

as
is

Double counterpoint is naturally in two parts,

we have seen in the precedino^ chapters triple
in three
In
and quadruple in four parts.
;

treating of these counterpoints, w^e shall only speak

of those which are most used, which are those in the
OCTAVE, TENTH, and TWELFTH.
The rules which
we shall give for these counterpoints will instruct
us how to treat those not mentioned here.

TRIPLE AND QUADRUPLE COUNTERPOINT IN THE

OCTAVE.

There are two ways of composing these counthe first and easiest consisting in adding
terpoints
to a double counterpoint one or two parts, moving
in thirds, either with the lower or with the upper
;

part.

248
Tliat a double counterpoint may be susceptible
of receiving- these two parts in thirds, or even a
single part, it must be constructed according to
certain conditions viz. first, it must no where contain either two successive tpiirds or sixths ; consequently, it must be wholly written in contrary or
:

oblique movement. Secondly, it must not contain

any other discords than such as are merely
transient.

EXAMPLES.

'jh

ra

r^

j~

i^.^
r
il-i-J

-v
y

-.

r-.

r>
V

fS=

=h=^f=^
^!*J

."j-H*
^_^_j^-. -A

_*

-^^-

f \

IT.

-^p-^p

<

r^

>

\^^

%J

n\'

Sw
^**j
1

a
r

r>

r>

*-*|

*
r

i
f
'

xz:

:^P

<^-

^?=^=^
tei:

To transform this double counterpoint into one

that shall be triple, we have only to add a third
part
either a third below the upper part, or a
THIRD above the lower part.
;


249

-^
:c:^

Part added a third below the upper part.

'^-

:s

f=^

^^^

f=^ni-^

:^=P:

SE^

-^

3=P=?c

-t=^^

p~

-^

Xi -^

:e=p:

-^-

-^

1-

-^-j^-

p
g

-C-K-

?E:

XZ

:p==S

-CX

X-4

^Z.

I^ZZjE

^
-^

Part added a third above the lower part.

t^"^

250

-^

_i.

31

SiEE^

-^3
1

-^

331

nzt

:i^=p::

^^=W:

~i~cy -^>-

K^

-M^

SEP;

Oi

-r

-Qt-

:p=^

Ci-

:^=1t

c>

H
H

>
i

r>

>)-

r
!

-o"T

1-

11

-H

^^^

J
1

To convert this same double counterpoint into

a QUADRUPLE counterpoint, we must join to the two
principal parts the two parts which we have added
above the one, a third above the upper part the
other, a third below the bottom part.
;

-^_LJ^

jCX

SE^

--^=t.

gs^=^=^R^=^

t=f^

:^=P

-^r-

-^

^
251
:c^

^iil

-)r

-^.-

^=t=:

S^

-t^

^=^ - Q

1^-1^-

-Qh

-Q^-

^EEE^^^

~<^

^=^

loi:

stz

^^
iZX

-^r

J=il

s-

-^-

^JLZAzL

We

may

invert the parts of this counterpoint

in various ways, as the following examples will

demonstrate.

252
-CJ^

sue

-f=

F=^

Id:

-^-

Ziiizts:

I!

3h

I
iq:

;^^

:^

fe=fa^

ffi^

^
/
vW
ff>

(f-.

'

'

"

1-

I
1

1
I

r
1=

y-^=

^-H

^^

r.

'^

\
1

253

The other manner of practising triple and

QUADRUPLE connterpoint in the octave, consists in
so combining the ])arts that they will admit of being
inverted with respect to each other that is, so that
each part may be placed either high or low without
requiring any change in the melody, and without
there resulting from these changes any inconvenience or infraction of the strictest rules. For this
purpose, it is indispensable that the parts should never
stand in the relation of a fourth or of a fifth
with regard to one another, except when the melody
moves by degrees, or when we use the prepared
discords of the second, fourth, and seventh.
The discord of the ninth is impracticable in this
species of counterpoint, as we have already said in
double counterpoint in the octave.
;

EXAMPLE OF TRIPLE COUNTERPOINT

^z.-

j^ ^-*

IN

THE OCTAVE.

:X

q=

^^t

-^-

-^

-^

fl

Theme.

S5

-^

-C3-

9:

XT

First inversion.

^^^

^h-

-^

-j^=ji=t^

-^

^=^

-o^

:rx:

-^

--

254

Second inversion.

-O^

-^-

T)T p

9-

:^=?=P^:

5^=^ zspzuiz:
Z3:

-h-^l

h-

:^=o

Third inversion.

jz=j=j^:

-69'-

^^=

^^-

-^

B
-e3-

a:

^E^
Fourth inversion.

-^-

^^

g^S^gE^:^P^^^
Fifth invursion.

-Q.

^
^:

q~:q=
j ~:^=^=j=

-o[=t^-

-^

t:
-e^-

a=

c?-

255
EXAMPLE OF QUADRUPLE COUNTERPOINT OF THE SAME KIND.
""

Y*"

iHi

-s^

:z3:

-H^:^

-Gt-

-^>-

-^

_i

^h

Theme.

35

:^

-^-

r>

(Ti

zx

First inversion.

is:
:^=p::

-Cjt-

:P=

t;

-^-

-^E -^-r

1==;==!

:i=^

-^

Is

or:ri

r>

Sz:

W^

zx

-^-

-rj:

_s:^_

Second inversion.

-^-

tz[=j=j=:^=:^=.
^:

-^

SiSE^Ef^
ffi:

ICX

-^-

-o^-

-^

I
1


256
Third inversion.

J^

zx

rg-r"F==^
1

-3^

^-^"

-^-

_Q.

Fourth inversion.

-4=

-^t=:cv

-^

e=]

ES

^EE

^t=t: q^zxr

:s

rr
Fifth inversion.

-^

-CV-4M-

i^
=^$
^^FT^-

it:^

.^L

TT~

-^ ;i

"cr

:^=P=P
it


257
Sixth inversion.

-O^

-C2l

:^

ff^L

-OL

-^

:St

--

^
3

-^

,a.

i
:^=i=il

:^=^ :^

-^

-ZJ.

Se%-enth inversion.

-D

xx:

1^

-CJi

I
:^

:o:

-Ci_

-t3-

^:

^ ^^^-t ^-^

_Ci

-^

r?

Eighth inversion.
-e:

^
T)i

-Ci

-^-

<^-

-G>-

_C2.

_Ci_

:^zp_^_^

i^

258
Ninth inversion.

TT

^^^

o.

-^

-^-

.C~).

X3:

-^
I

.C-i_

Tenth

-f=

inversion.

-Q-

-65-

-^

fl

zzcmiifi:

I^FT

_f:^l

:i3:i=:i:

-^

-^

"cr

-^
^

-o-

-Q.

s?

^^

X3-

Eleventh inversion.

-Ol

cr

-o:

-'

^r^

f=^^iF^g

t-w^

'

-^-

.C^

r--

-CX

g]

-1^-

:^-

^i

259
Twelfth invernion.

23:

i
s

-o~

-^

^
^

:i=i atz^t;

-^-

xr

-^3^

-^

-^

-CZ

-^

-CL.

-Q-

Thirteenth inversion.

-^-

_CJ_

H^U^

tr

-^

-^1,t::

:i=3t:^

-^
jCH-

^fc^z:^f=r=^

-^-

::^

I
Fourteenth inversion.

-^-

C >-

JCD-

-^-

"cr

31^^

^E^^E=p=o:

Oi.

Ir

la:
s

-o:

260
Fifteenth inversion.

zx

-9-

-t-

^-^

-el

'

-e^r

SI

^-

-3-

-9r

-?-

F=t:

S?^

-Ci

a=

*-#-^-

^^

Sixteenth inversion.

-^

-C_J_

S
5

'CT'

-d.

^3E^
:^:

i: -^.

sp--^

^^^

^^S
r:^

-OL

-^-

lo:
-CL.

Seventeenth inversion.
-C->_

e5-

:^~i:=:i3

32.:

3:

F=_

-U^

-^r
-3-

-CJ-

-O^

:^:

.U^
1

261

This species of counterpoint, from its nature and

the regularity of its inversions, may be applied to
the counter subject of a fugue^ as we shall see when
we come to treat of that kind of composition.

CHAP. XXIX.
TRIPLE AND QUADRUPLE COUNTERPOINT IN THE TENTH.

Observing the rules established in a previous

chapter with regard to double counterpoint in the
TENTH, as also the laws which impose on us the
obligation of always using contrary or oblique
motion, we shall obtain a TRIPLE and quadruple
counterpoint in the tenth.

EXAMPLE OF A DOUBLE COUNTERPOINT

FROM MARPURG.

EEE^E
'

'

J.

IN

THE TENTH,

-ri-

zf^zzznszzpq

^5

"C5"

:^ti

Si^^E^^EHE^EpE^ :tzz:Ezzt
_L
:t=t=
-^-

:p:

262
--^

^^igr~r
To

-e^

-cr
^

^^

J=t

convert this double

-^

-3-

counterpoint into a

TRIPLE counterpoint, we have only to add to these

two parts the inversion of the upper part in the

TENTH helow, or

that of the

lower part a tenth

above.

EXAMPLES.

HP

-o^

Ij.-^

aP
^S

^-

-P

-^

:gP ^:

Upper part a tenth below.

-^

^=2f

^^^

:=!:

TD"

-e)!-.. -

-= ^-P-^-

-#

:p=p:

j:j:

35

:^=P:

-^-

f=P=
F-

I
zx

263
Lower part a

rf^
t=w--

tenth above.

Xi

-^^

-^

-xy--

4^

^J^

-^

Oh

^^=^ :^=i^

-^^-i-

"C5-

Si

^^*-

P--

To obtain a quadruple counterpoint, I shall

propose the following example of a double counterpoint in the tenth.

Marpurg.
~r^

\m

I-

xx

jLX.

r^

264

33

ZX
;!

^
:i3i:

_Q_

From this double counterpoint we form

a triple

one, by adding a third part at the distance of a

TENTH or of a THIRD from either of the existing
parts, and by inverting in turn all these parts in
the manner practised in the example on quadruple
counterpoint in the octave.

First way.

:^3

:t^
^

::^ot

X2

-&-

t^
J^=i: it-&-

lOZ

ej(f_

^
-C3r-

^g^g^EH
Tzr

-^-

265
Second way.

in-

^
^

-^

m^^:
-"^

r-"
1

.cy

m^^^^^_

:p_iL

-^

-r^

--^F-i-

-c^-

^1
--

^-^

g^
-

-^r

:F=P

Third way.

-1^

:p=:3=:

^:

^^

XT"

:2p:

^P^

Z
266

r=F

TZ?,-

Tir

d
\

-G9-

c>

^A'

-Or

5EEEE*
jfcjg^

-^-

ifcio

P=^

:^

Fourth way.

-F^

-)-

V^

^^

/^

JH^ZC

-^
^^

-Ql.

:^

-^

^&

^t=z

-^

-^r

^S
H**-

ICX

-^

-^

c>

^
267
Fifth waj-.

^**

-^
>

ir>
vw

^i

*^

'

^
P-

-^-

ei

:^

tr ri-

By adding

-<=>

-^

-Ct

jQ.

:1^:

5=

1--^

->-

same double counterpoint two

the following manner, we shall ob-

to this

parts in thirds in
tain a quadruple counterpoint in the tenth.

268
EXAMPLE.

XX
-e^

i:^:

-^

g
3

-Q_

-^

-QL

1^:

-^r

:iB:

f^

S^

Jtziizdz^

^B

-f^-

*^-:5t-o

-^

-^xj:

-^

^=^P:
.

-I

^ ?^ i=^

fe
:^=;i^^

xz:

This counterpoint, such as it is combined above,

does not supply a great number of inversions exempt from reproach.

269

CHAPTER XXX.
TRIPLE AND QUADRUPLE COUNTERPOINT IN THE

TWELFTH.

To
in the

obtain triple and

twelfth, we must

quadruple counterpoint
first

to the rules peculiar to itself,

combine it according
and then proceed in

the same way as was done in respect to counterpoint

in the octave
that is, take care to avoid all discords, except those of transition, and observe to
use only contrary or oblique motion.
;

EXAMPLE OF A COUNTERPOINT

IN

THE TWELFTH.

=1:

Inversion in the twelfth

gi

-Qi

ZftZ^T
-9S14

i^:

^^

270

c-r^

x:^

^-

lizzzi:

-i-

pf-

&

:^^=?:

^
r

f~),

^^

1*

i:

:^=i:

^^^
;):

r-E

-^

To make
we have only

double a triple counterpoint,

add another part, either a third
below the upper part, or a third either above or below the under part.
this

to

EXAMPLES.
First way.

-Ql

^F^

:^

-Cti

Third below the upper part.

^^
^^3=B

:^-

:i-it

271
Second way.

t^3^
=1"-

^==i:

:i|z=i=l:

t=:;it i

Third below the under part.

~]

^-

i=i:

^i^

Third way.

^:

t=F

Third above the under part.

t=^
^--

ipzzzq:

^z=;j=j=3
r ourth way,

/V
If

III*

-^

v/

'

t/

:p:

:^
:

o>-

j-^P

3=^ ^

i:

:^

P^

II
II
1

II

272
Fifth war.

i
=i^

:P^
^=i

^i=it

i'

^^

:P=p:

=p:

^1

And to transform a double or triple counterpoint into a QUADRUPLE one, yve have only to re^'ulate ourselves according to the following example.

EXAMPLES.
.c^_

fePEE

T
~nz

+i^ii:^
j

i==T

h-

-^=W^

ro-

3tzzi

s^Erfzzt^EEEaJ;

:i=:i:

# *

^=n


273

t=^

_(

:P=F
-^

^E3^
Y
L

:q

f r ^
hw^'^-
!

}-

:^

XX

^f=^

-^

3t=^
4=-

5=

3^

-C3-

:q-jz=3

3t^

-^

-^

i=i|:
-^

^-

I
:^

^E^^^^^l
SE

X7

=(E=^

Z3

:i=F

;Et f^-=i!5&=d;

274

CONCLUSION.

These examples give rise to an important remark, which is, that, notwithstanding the denomination of TRIPLE and QUADRUPLE Counterpoint in
the TENTH or TWELFTH, there is not, in reality, any
true TRIPLE or quadruple counterpoint but that in
the octave.
In effect, the combinations of this species of
counterpoint alone, will allow us to compose a piece
even a greater number),
in which all the parts equally lend themselves to a

for three or four voices (or

complete inversion.
a correct

In

quadruple counterpoint

in the

octave, the parts may without difficulty be displaced, and thus furnish a crowd of new aspects by
transposing some parts from acute to medium or
grave, while the grave parts ascend to the medium
or acute.

But

it is,

as

we may

say, impossible to

compose

for three or four voices, with the condition that

any

of the parts may, in turn, be transposed to the third

or tenth above or below, or to the fifth or
twelfth above or below, without ever ceasing to
be in correct harmony with the other three parts
we are therefore obliged to use artifice to obtain the
counterpoints called triple or quadruple counterpoints in the tenth and twelfth.
In composing, as we have said, a double counterpoint in either one or other of these intervals, in
contrary or oblique motion, so as never to have two
successive thirds, and avoiding all prepared dissonances, it becomes possible to add to each of the
two parts another part in thirds, and the counterpoint becomes triple or quadruple by the junction
of one of these parts, or both at the same time.
But in QUADRUPLE counterpoint in the tenth,
obtained by this proceeding, no inversion in the
TENTH is possible because it is these very inversions
themselves which proceed M'ith the principal part
;

275

make up the four parts but

may be inverted in the octave

to

this counterpoint

that

is,

we may

change the place which the divers parts occupy, if

we have taken care to observe the rules of double
counterpoint in the octave.

Quadruple

counterpoint in the

twelfth

is

and varied that is, among the four parts

thus combined there are always two which may be
transposed, one a fifth above, the other a fifth
below these are the two principal parts, and which
do not on that account cease to be capable of proceeding in THIRDS with the two added parts.

more

real

Before we conclude this section, we shall exhibit

a series of examples by the learned Father Martini,
relative to those counterpoints, in which we shall
see the use which may be made of them.

EXAMPLES.

First Species Counterpoint

in the

upper part.

^--CiL.

=!=:
Lower

-^-Hzzftr.

part.

cr

>

T-}-

Counterpoint an octave lower.

?^
T 2

4==

276

Z2:

rr

^^*-

-r

Counterpoint a third below.

TX

"cr

f)
u
?u

1 1

I?^
K^J
tJ

1 1
1 1

ri

--

t^y

--

Counterpoint a tenth below.

->-

LI'

^^feJ=l=fT^

Second Species Counterpoint

-^'-

i=l=3:

-o^

Lower

It
Vv

-rj-

part.

-9-

Lower

(^
J

in the upper part.

part a fifteenth above.

e5
1

*-'

<_i

<

vJ

Acute part an octave lower.

53^-iiI

-ep-

Jr

P
1

P ^
tz

n
^

1
1 1I

'

277
Acute part a

third above.

=]:

qI

j=j

Lower

c>

part.

-d_

-^-

Acute part an octave above.

-i^

^l

r^
L^

C3^

^^-^
^

~r~

1
1

'

h-

Bottom part an octave below.

''"\*

1
1

.1

-cr

Acute part a third above.

'

/i

W
rn>

<L>

Lower

^
31

-^
T3-

cr>

r^
CD'

II
1

II

part a third above.

-^>-

"T^"

s
-^
js:

278
Acute part an octave above.

-^

Acute part a third above.

-^

-^-

-^-

xz:

-Q-

Third Species Acute

part, contrary motion.

t=F
-e>^

::^=i

-ry

Lower

Jt=^

-^

third

-^-

above

:o^=g=i
Lovyrer part

ZX

:t

part.

-nr

Acute part a

i=:^t
TZJ^

in

'C7"

contrary motion.

:t-ct

:P
::^

:^

an octave above.

"cr

-G3-

279

^^^^

Acute part an octave below.

3z=iz==o=zz^

Lower

m:

part a

JOl

fifth

above by contrary motion.

-^5-

-^-

Acute part a third below

w=.

"^'

in contrary

rn

r->|

Lower part

a tenth above in contrary motion.

-^

3?;

motion

Acute part not changed.

o i=^
Lower

IXIZZIQ-

part a

-^

-^-

fifth

^-J

-^

above in contrary motion.

-e3-

-^-

C3
Lower

:^

part an octave below.

is:

^
280
Acute part an octave above.

-Ci_

1'-

^L
Lower part an octave

jO^L

or fifteenth above.

-Ci-

-oLower

part a twelfth above in contrary motion.

is:

Fourth Species Acute

-QZIJ

:xi

part.

C-Jl.

-t
Middle part.

xz:
Lower part ad

=1^

-o~
libitum, but essential.

-p.

JCX-Ci.

Middle part an octave higher.

-^

-^

C>

Acute part an octave lower.

"3^

:^^

TT"

-CX

-69-

Part ad libitum.

g
*

if^zici

281
Middle part a fourth above.

l>e^

-Q-

O.
Acute part a

fifth

lower.

-^

Z3.

s:

Part ad libitum.

a^^: :^=^i:
=f

:^

_CJ

tit r

-C7

Middle part a sixth above.

:^

Tl'

CT

Middle part a fourth above.

:^

^^
-o:

_Ci-

Acute part a twelfth below.

-^

3:

Ad

SE

-^

-Ci

-^

libitum part.

-ilA

-^

"cr

Middle part a sixth above.

-^

-^-

Acute part a

-^

^^F=^^=i&-

^|r^

Ad

third below.

-^

ixz:

libitum part.

ZX

282
Acute part a sixth above.

oz:g[
:
Middle part an octave below.

-^

^;

-^
Part ad libitum.

_^_#_^
JJZZL

=P=F=

FiFTiH Species

-Oi

Acute

part.

-^-

-Qi

:^

-^r

Middle part.

_LJL

Part ad libitum.

-^

3:

*=^

t^^

Middle part an octave above, retarded.

-^

-Gr

TT"

Acute part a sixth

-^

belovr, anticipated

:^

-Tzr

and varied.

=i=3i

Acute part an octave below, anticipated and varied.

:^

Ad

3 #

-^M

-^-

libitum part.

:pE=:-._*_3_iz=i:

:^

.cj_

283
Acute part a third above, anticipated and varied.

-Q"

-&r-

Middle part a fourth above, anticipated and varied.

zx

:^

M
Middle part

in the unison.

-^-

^;

I
Ad

libitum part.

-r

:t=:^

Middle part a third above and varied.

-^
Middle part

and varied.

in the unison

zo:

Acute part

si^

<~>
-I

Ad

S^

Tzr

in the octave below, anticipated

:^

-^

-ry

and varied.

"T P

&

libitum part.

-^

--

-^1fR=

284
Middle part an octave above,

in contrary

movement.

-^-

-^-

Aeute part a tenth below by contrary motion and varied.

:St:

:^

-^

Ad

W:

T~y

=1:

-o^ =^ti

-^

libitum part.

:rx

23

Middle part au octave above.

-^>-

-Q-

Middle part a

fifth

above, in contrary motion, retarded, and varied.

-^
-r^-

-^

-9^

-^>-

Acute part an octave below, anticipated and varied.

-^-

Ad

^^i

I^

X5:

-Ci

libitum part.

;&EE^^

-^-

285

BOOK

IV.

CHAP. XXXI.

ON FUGUE.

The word fugue fFugaJ is ancient; it is

met with among the old composers, but they did not
affix to it the signification which we attach to it in
the present day. They gave this name to those
counterpoints in imitation, of which the melodies of
plain chants formed the subjects, and in which we
now and then meet with canons. At present, we
apply the name of fugue to a composition of considerable development and regularity, which was
unknown to the ancient classical composers, and
which indeed they could not know, because their
system of tonality did not lend itself to what we
call a towaXfugue^ as we shall presently see.*
The fugue then, notwithstanding the ancient
origin of the word, is a creation of modern times,
which has only been introduced in church music
since we have thrown off the obligations, which contrapuntists had imposed upon themselves, of always
writing on plain-chants.
Such as it exists at the present day, fugue is the
complement of counterpoint. It ought to include
* See what Padre Martini says on
on Counterpoint.

tlie

subject, in his

Treatise

286
not only all the resources which are furnished
by the study of the different species of counterpoint, but also many other artifices peculiar to itself,

and of which we

shall

speak farther on.

Fugue may be considered

as the transition becounterpoint and of free

composition we therefore forewarn the student that
he will find, in the examples on fugue which we shall
trive, several chords that we have not hitherto employed.
All that a good composer ought to know may
it is the type of every piece
find its place in a fugue
of music that is to say, whatever piece we compose, if it shall be well conceived, very regular, and
conducted with intelligence, it must at least have
the spirit of fugue, without having precisely its
peculiar character and form.
There are two principal kinds of fugue, from
which emanates a third species ; and from this latter
spring all the rest. The two principal kinds are
the TONAL FUGUE and the real fugue the other
All the rest, children
is the FUGUE OF IMITATION.
of caprice, are irregular fugues of imitation,
or merely pieces in the fugue style.
The indispensable conditions of a fugue are the
subject, the ansv^er, the countersubject, and
the stretto.
To these conditions we may add the
pedal, which is almost always introduced in a fugue
of any considerable development.
All the artifices which we can introduce in a
fugue depend on the knowledge, the address, and
the will of the composer, and at the same time also
on the nature of the subject and countersubject,
which may be more or less susceptible of lending
themselves to these artifices.
Such artifices consist, first, in the employment of
imitations, formed by detaching portions of the
subject or countersubject; secondly, in the
transposition of the subject into different keys,
and in the advantages which, in this respect, may

tween the systems of

strict

287
be derived from double counterpoints thirdly, in the
inversion of the subject by contrary motion;
fourthly, in a new subject which may be introduced,
and which will admit of beino- combined with the
first SUBJECT and the first countersubject
fifthly,
;

manner of combining the stretto

in the

in various

ways, each time drawing closer and closer together

the subject and answer
sixthly, in the means
which may be used to simultaneously unite the subject and its inversion in contrary motion seventhly,
and lastly, in the manner of combining the subject,
counter-subject, and stretto, on the pedal, and
in the address and the taste which we may employ in
the connection and the introduction of these artifices in the course of the fugue.
may employ all these combinations, and
even various others, in a fugue merely intended for
study but, in one which is to be given to the public,
we must make a choice, and not introduce them all
without this precaution, the fugue would be too
long, and consequently become tiresome.
shall now proceed to the explanation of each
of the denominations which we have enumerated
above.
;

We
;

We

CHAP. XXXII.
ON THE SUBJECT, ANSWER, AND COUNTERSUBJECTS OF
A fugue.

The subject

or

Subject.

theme of a fugue ought neither

too short
its length should
be easily engraved on the memory, and that the ear may seize on and recognize it
with facility in the different parts and in the diflFerent
ways in which the composer may introduce it.

to be too long nor

be such that

it

may

288

The

follovvino^

is

an example of a subject of

a proper length.

i^^

jL^-

i=:

The SUBJECT being once well imagined, the whole

fugue ought to be, as it were, included in its extent
and that of the countersubject, which serves it,
as an auxiliary.
The SUBJECT may also be called the proposition,
ANTECEDENT, and GUIDE and the parts which succeed it may be called answers or consequents.
The composer is at liberty to choose any part in
Ancient composers
which to propose the subject.
were, however, in the habit of observing the following method when the subject commenced by the
octave of the tonic, and afterwards descended to
the DOMINANT, they took the most acute part to propose it, in order that the answer, which was to
descend from the dominant to the tonic, might be
made by the lowest part.
;

Padre Martini.
Subject.

-J

A<

^l~

A
f7"\
V^

r>

ni

.>--T^L^'

r~i~

d d
1

t-

Answer

n
t^

^Z

ri

c
t

^1

^-'

II

r-J

CJ'

^1

-'-

t.

Subject.

,):t\w
^^tV

\1
1

4)^
=^

sJ

--.1

289

r^

-^=w-

f=^=^

^^
i

^m

^-

1:

-Qt
-CX

ffi

-e-

^-

:P C2.

Answer.

-Ci

-Ci-

is:

ii

xz

tt

:^

^:

s
-CJ_

-'t

tt

-^

On

the contrary,

when the

subject

commenced

by the tonic, and afterwards ascended to the dominant, they, for the same reason, chose the lower
part to propose the subject, in order that the answer,
which necessarily ascended from the dominant to
the octave of the tonic, mif:ht be o-iven to the most
acute part.

290
EXAMPLE.
Answer.

-^

Subject.

-^-

-^

Answer.

-^r

me

-Ci

Subject,
'"^*

p}'l
A

'

>i

c^

*'

-M-

-Q,

-e>

i_

-Gf-

^
7-A

-^

i;^

-^r

O.

=I=-1

^\*

*/

1->

:zj

291

-^

tt

:t=t

:^

T^

cr

-^

:M:

-Ci

-^-

of the ancient composers which we

have just explained is not an absolute law it is
only a reasonable and wise arrangement, analogous
to the distribution of the parts with regard to the
nature of the subject.
This arrangement may most properly be practised chiefly in respect to tonal fugues, as we shall
see when we treat of this species of fugue.

The method

2.

Of

the

Answer.

The ANSWER or consequent immediately follows the subject. It ought in all respects to be
shall
similar to the latter, only in another key.

We

what key, or rather in what

the subject ought to be, when we speak

explain, farther on, in

interval,
of the different species of fugue.

We

may add,
that the answer determines the species and nature
of the fugue.
u

'

292
Codetta.

Subject.

:^

;^E=

:^

Ol

-c^

P==P=

t)

Answer.

V
/5

ir^

J4^
If'

r-
<

\S 7

--1-

:t

c>

,->

xr

X2

SP^

Codetta.

fe^ =^

il^'

^=^=i:

-^

1/

3.

0/

i/ie

Countersubject.

The melody which accompanies

ject or the

ANSWER

is

called the

either the sub-

countersubject

the COUNTERSUBJECT, beiiif^ intended to be introduced both above and below the subject and the
ANSWER, must necessarily be written in double
counterpoint in the octave, that it may admit of inversion from acute to o^rave, or from g-rave to acute,
without there resulting any inconvenience or a necessity for some organic change.

293

s
Subject.

--^

^-

a^

t=:

i:

T.

SB

Countersubject

:q^:

i^_=j_:^^^_j_L_^

iif-^

J"
Answer

-Q.

g^

i^:

:P=^^
-tr-

f^^=

'

^____^

v^

i>^

-^4

-1

r-

-^ ^&

E
~l*~

-h-l

294
Subject

I-

:T

^
r

^=

o^

iJ:

:^

-q;

-'&r-

P3^ :^=^

iiv
:^f=:

-L^-

V
>'

1?^
Is 7

.
r

r^

II
II
Bl
II

1
1

',

.'
1

Answer, &e.
D-

>
r^
v-;

II
II

'-'

&c.
^

V-*7

#^
*r^^\

CJ

It is not, however, absolutely necessary to observe the exact identity of the countersubject in
its transpositions and inversions
we may occasionally change some notes, if we consider it necessary,
either for the purity of the harmony or the strictness
of the counterpoint.
In a fugue in two parts, there may be only one
COUNTERSUBJECT; in three parts, there may be two
COUNTERSUBJECTS and in four parts, three couNTERSUBJECTS. As the number of parts augment,
;

295

number of countersubjects also augment

easy to comprehend that there can only be
many countersubjects as there are parts, minus

the

and

it is

as
the part in

which

placed either the subject or the

ANSWER. When we desire to have only one countersubject, in any number of parts, those which
accompany the subject and the countersubject
combined are called ad libitum parts of these,
the melody may be varied each time that they
occur, whether at the bottom, in the middle, or in
the acute parts.
is

EXAMPLE.

A
/

[J

rr^

k)

Subject
1

Y*
'^

^
aiS:

^^

r^

'

gj

<-^

.
^

r-V

s
^
a

296
Couutersubject

Codetta

r^

-^

^ :B==^

-h-

Answer

-^-

ffi

ffi:

#^

^q

lTr>

id

^"-^1

^'

Codetta

t_

ol

nJ

n
JJ.

^.

m
''

-ffJ

7 \.

p3'

..

-^

Codetta
!

itj^
v^

^
j
^z-S
1

-jd

fi

^
1

-]

297
Acute part ad libitum

H^zqzzzti zzzi:

Countersubject

^i:^^

-Ct.

-^

-^

-tprt

Subject
I

:^

t^=^=r=?^=F=^

a?

1=:

xx

Ad

-^
-9l-

Codetta

li

-^

libitum part

Codetta

T3

:^

Countersubject
I

SEE

Iee

-H
g iit:

Answer

Z3z:

xx

ipzzff=z=t

298

--:i=pt

:^

Codetta

,^^=m=

P~

^-f-F4^-

--

Codetta

-^

g "O

r=w=r2

Answer

y
Jl

i?n
VM;

/\
\{?\
\\}

'\'

o3'

f
1

-P^
1

cy

-^

xj-

-Or

:S:

.
f"

"f

1
1

_:

J
'

W^

r>

^
^

J!

Countersubject

^^
1

^
299
Codetta.

=!

^-^

-^

=ff

T^-

-iZi

-i-

-C^i.

^^

i-

TT

rf

Codetta

-e^

:^^i=:ih

-r:?^

Countersubject

o'-

:^^

->-

:=rr

^^ittJ^
Vw-

Subject

J-

J"

aE^EEyEEEl^^^^i
I

gi

Ad

libitum part.
C

3t-

300
Codetta.

:t=

:^

ifci

-*

s^

3^
-d

Codetta.

o-

1^

i:

=i:
:i:

It is needless to say, that, in a fugue in five, six,

seven, or eight parts, we shall be obliged to have
several parts ad libitum, because of the difficulty,
and even impossibility, of finding a sufficient number
of couNTERSUBJECTS, that is, of parts in double
counterpoint, for so great a number of voices.
The COUNTERSUBJECTS in a fugue may be placed
immediately and simultaneously with the subject.
To me, this disposition does not appear the best and
I think we shall obtain the greatest variety in the
ensemble of the parts, by managing the countersubjects so that they shall only come in successively
first allowing the subject to be heard isolated, or at most accompanied by a single countersubject, if the fugue is in three parts, or by two,
if it is in four parts.
;

301

Whatever be the number of the parts when we

commence a fugue, by at once accompanying the
SUBJECT with one countersubject, this disposition
gives to the fugue the name of a fugue on two
SUBJECTS.

EXAMPLE
Of

what

called

is

FUGUE ON TWO SUBJECTS,

number of

whatever be the

the parts.

First counterpoint, or second subject.

XX

-GSh

i
Principal subject.

-e>-

"C5-

When a subject is accompanied by two counTERSUBJECTS, the fugue is called a fugue with three
subjects.

EXAMPLE
Of what

is

calkd a fugue on three subjects, whatever be the number of

parts above three.
Second countersubject, or third subject.

-^

::?

-^

3fc:i:

^
-^-

Principal subject.

3!
-^-

_^.

First countersubject, or second subject.

ffi

ffi

a:

302

When

to a given subject three couNTERSUBthe fugue is on four subjects,

opposed,
arc
JECTS
&c.

EXAMPLE
Of what

is called

A FUGUE ON FOUR SUBJECTS,

the

whatever

may

be

number of parts above four.

or fourth subject.

Third countersubject,

^=^

Xi
-e^

Principal subject.

-^

TJ-

Second countersubject, or third subject.

^^

-Qi-

-Q

y^

First countersubject.

-ri-

Remark.

cy

XX

-^

Although the denomination of fugue on

my

two, three, or

opinion, this denomination is improper and I found my judgment on this

that a fugue
neither can nor ought to have more than one principal subject to

four

subjects is generally adopted, yet, in

;

serve for its exposition all that accompanies this subject is but
accessory
and neither can nor ought to bear any other name than
that of countersubject.
Thus, according to this principle, the fugue
;

which, from custom, is called a fugue on two subjects, ought to be

called a fttgue on one subject with one countersubject, Sfc. ; that on
three subjects, ought to be called a fugue on one suhject with tivo
countersubjects ; and, lastly, that on four subjects, should bear the
name of a fugue on one subject with three countersubjects, SfC. ^c.

303
To convince ourselves more thoroughly that this ought to be
the case, let us suppose that these different subjects, instead of being
heard at once and simultaneously with the principal subject, were
only introduced successively by the parts, as they enter one by one
these different accompaniments of the subject or the answer which
;

we named

when employed at the commencement, would

countersubjects now, as we might have
countersubjects to have been heard at the same mo-

subjects,

in this case be called

caused

all

these

ment that we proposed the principal subject for the first time, it does
not, by any means, follow that, merely on the former account, we
change

their denomination.

We must however observe,

that, in case we so plan our fugue

as to introduce several countersubjects at the same time that we

propose

th.e

principal subject for the first time, these countersubjects

invariable in their inversions throughout the whole

must remain

course of the fugue.

On the contrary, when these different countersubjects are only

introduced afterwards, either during the subject or the answer, and
that they have not been proposed at the very commencement of
the subject, we are then free either to preserve their identity as
often as they occur, or to slightly modify them by changing some
notes, according to the wants and the situation of the parts.
In all cases, it is important and indispensable that we should
always combine these countersubjects according to the laws of double
counterpoint, that they may be applicable under all circumstances,
and freely lend themselves to the different artifices which we wish
to employ.

CHAP. XXXIII.
ON THE STRETTO.

an Italian \vord which signifies

is
has been adopted into our musical lanand is employed to indicate an artifice which

Stretto
CLOSE
o-uacre,

it

consists in bringinj^, as close as possible together,

the entry of the answer to that of the subject.

304
EXAMPLE OF THE ANSWER ENTERING AFTER THE PERIOD
OF THE SUBJECT IS TERMINATED.
Subject.
--4-

jL2.

HEP^^
a

~T%

r^
h-

xz:

:t=t

Answer.

^
O

t=^^=l^=W-

:^

X2

:W=i=i
i=i:i:

^-(J^^^^^^

-L

-0_

^^:

ziJ

J-l

EXAMPLE OE THE ANSWER ENTERING DURING THE PERIOD

OF THE SUBJECT, AND THUS FORMING THE STRETTO.
Subject.

^5

i=:p=^

-r^

=^

-hAnswer.

W-

=#Ei=i

305

I
-^-

-^

The Stretto is, as we have already observed,

one of the conditions indispensable to a fugue we
shall indicate the place which it ought to occupy,
when we speak of the entire contexture of a fugue.
The art of employing the stretto to advantage
consists in the manner of varying its aspects, and
in seeking the means, each time that we introduce
the STRETTO, to draw closer and closer together the
commencement of the subject with the entry of
the ANSWER.
The effect which this produces is
very piquant and exciting.
We are sometimes permitted, when we can do
no otherwise, in order to bring closer together the
entries of the answer and the subject, to chano-e
some notes of either or, if we do not change the
;

them ; but these

variations cannot take place in the subject till after
the entry of the answer, nor in the latter, till after
the entry of the subject, and so on.
All this,
however, is subject to many exceptions, which are
allowed according; to the circumstances in which we
are placed, as we shall see in our examples on
notes,

to

alter the duration of

fugue.

When the subject, by its peculiar nature, is

not properly disposed so to combine in forming the
STRETTO in a manner altogether natural, we are
allowed to commence the stretto by the answer
but, if neither the one nor the other are adapted to
obtain all the aspects which we desire to give to
the stretto, we must then content ourselves with
causing the answer to enter after the subject, or
the subject after the answer, in whatsoever place
we can, emploving afterwards the allowed changes
;

306

Fbr
either in the notes or in their relative vahies.
the rest, practice will still better teach the means by
Avhich we may extricate ourselves in difficult cases.
f^ood subject for a fuf^ue ou^^ht always to admit
of an easy and harmonious stretto in composinoit, therefore, Ave should, before-hand, think of the

different combinations of the stretto.

CHAP. XXXIV.
ON THE PEDAL.

The pedal

a note prolong-ed and sustained

It may be placed in the acute
part, in one of the middle parts, or in the bottom
PART it can only occur, whatever its position, on
the TONIC or on the dominant
but that kind from
which we can draw the greatest advantao;e, and
which is most generally employed in fugue, is
the
DOMINANT placed in the lowest part.
The property of the pedal is to free the composer
from the severity of the rules that is, during its
duration, he may introduce discords not prepared,
and even modulate, provided, however, that the
parts which proceed thus are combined with respect
to each other according to rule, and as though
the sustained note of the pedal did not exist, except in the first and last bar, which ought always to
harmonize with the note of the pedal.
From what we have said, we may cause the
SUBJECT, the ANSWER in stretto, the countersubjects, and, if we can, some of the artifices which
we may have introduced in the course of the fugue,
to be heard on the pedal.
is

durino- several bars.


307
EXAMPLES.
Subject.

-Ci

3-

(ft:

r=1:

in:

-f3-

_l-i-

crPedal.

/^

sn

-^-

:?^=ac

Answer and

-^-

r> -

Countersubject.

-^

;^zi^=^i=s:

-O'

iizh

stretto.

:i!=q=:il:

=1:

:^

^^^^^g"^=^^

TST

:tfi=i=3^:

_4LX

_CJ_

dzzzl

Modulation.

=]==&
v^

-I

'S^^^^imtiFciti:

:^:

"ry

X 2

=iz=t

:^=:

^
_C3_

308

^^~~
PS *
J

\:

<

^1

^^

n
II
II

vJ

'

'

^ **

f]

AV

lO
V;

r^^

J
4

"^^

J
"i

#7*

-^

4
)

>
<

As it requires at least two parts to form, on

the PEDAL, the contrivances which are to fulfil all
the conditions prescribed, it follows that the pedal
is not obligatory in a fu<2;ue in two parts.
This is
the reason that the pedal is not one of the indispensable attributes of a fugue.

CHAPTER XXXV.
TONAL FUCUE.

We

call

a tonal fugue a fugue of which the

subject, at its very outset, passes from the tonic to

309
the dominant, or from the donunant to the tonic.
The answer in this species of fu^ne is not absolutely
similar to the subject it is subjected to laws which
we shall proceed to explain.
If the SUBJECT commences by the tonic, and ascends or descends towards the dominant, the
ANSWER must commence by the dominant, and ascend or descend towards the TONic.
;

EXAMPLES.
Answer.

Subject.

'cr

SE
--

%T

Answer.

Subject

"'^'

*^*

%^>

1
_\

""
{{

y
H

If the SUBJECT begins by the dominant, and

ascends or descends towards the tonic, the answer
must commence by the tonic, and ascend or descend towards the dominant.

EXAMPLES.
Answer.

Subject.

T7
Jf

W
f7r\

'

^^
o

(.J

1
1
1
1

^
r~j

1
1
1 1

Answer.

Subject.

-3-

TD-

310

We

now

s^ive examples of subjects longer

than
the preceding ones, but still
and more florid
principle, that the student
same
on
the
conceived
find the exact answer to
himself
to
accustom
may
a
fugue.
of
SUBJECT
the

shall

EXAMPLES
Of SUBJECTS, which from the TONIC
and of the ANSWERS, ivhichfrom
the TONIC*

ascend towards the

the

DOMINANT,

DOMINANT ascends

towards

Answer.
-iCi

_Ci

e^

ri-

Subject.

::^

-ef1=

-xi

l:

-C3^-

xr

Codetta.

~CT-

V--

tt

-t--

Codetta.

1t-

Answer.

Codetta.

-HI:gr-^-^-

:St3t

-fCodetta.

Subject.
I

:=]:

t:

TT.

-^- itJ^z^^otdr^^zii^zzii;

These

STRETTOS
as possible.

different

that

is,

"CJ"

-^

examples are given nuder tlie form of

is brought as close to the subject

the answer

311
EXAMPLES
Of SUBJECTS, which from the TONIC descend
NANT, and of the ANSWERS, which from
scends towards the

DOMI-

totvards the

DOMINANT

the

de-

TONIC.

Subject.

Codetta.
1

,
1

<-*

>^ -L

(I
c^

J
d

>

Answer.

/J

0|'

'

Codetta.

{(^s

^_^

^
\J

r\

p:.

-^_

xz

=M:

:^:

^^

-4=4

tlJ-

l^t-

Subject.

-^

-CL.

Answer,

-^

.^_^

v^

Codetta.

1==^1=

Tzr

^t=^:
H

-^1t:

Codetta.

''^

:f=:

-&-

CZ

:t=:^
-xjt

312
EXAMPLE
Of

SUBJECT, wliich from the DOMINANT descendx towards the

TONIC, and of the ANSWER, which from the TONIC descends

towards the

DOMINANT.

Codetta.

Subject.

I!

3-

S=:

"CJ-

Answer.

^
!

Tiy{
,1-

=3=

:r\

:p
-&-

Tjr

i^

Codetta.

T^^^

i--=t-

EXAMPLE
Of

a SUBJECT,

which from

toicards the

the

ANSWER,
DOMINANT.

TONIC, and of

the

DOMINANT
tvhich

from

Subject.

M&-

-O^

;fe^

ascends towards the

TONIC

the

ascends

Codetta.

G>

L 4=

Answer.

c^

(=i,

ex.

Codetta.
|

-o'~

o^iE

o-

"c:j-

-3-

313
EXAMPLE
Of a SUBJECT, ivhkh from the DOMINANT ascends towards the
TONIC, and of the ANSWER, ivhich from the TONIC ascends
towards the

DOMINANT.
Codetta.

Subject.

Ou.

Ot-

:i^^^^=a:

Answer.

--^-Pt

:^M:

z^-

-&^

Codetta.

1^2

"cr

1f

Before we

which

we

finish,

shall offer another

remark,

a guide
it is that all those
phrases of melody in the subject, which belong to
the harmony of the tonic, ought, in the answer, to
be represented by similar phrases, belonging to the
harmony of the dominant and that all phrases
of the SUBJECT, analogous to the harmony of the
dominant, should be represented in the answer by
similar phrases, analogous to the harmony of the
will serve as

tonic.

To demonstrate

this, let

us propose the following

subject
_Q_

-^

According to the immutable law of the tonal

FUGUE, the ANSWER must be made thus

-^-

314
from this simple subject, we derive one
complicated
more
but

if,

minuB -^-1

from what we have just

OL

said, the

-^

-It:

answer

will

be

two notes D, B, added between the limits of

the simple interval C, G, belonging to the harmony
that is, to the mode of G, -ought
of the DOMINANT,
to be replaced in the answer by the two notes G,
E, belonging to the harmony of the tonic.
In this other subject
for the

In G.

In C.
I

=!:

CT

:^

z=i:

-^

ought not to be any other change in the

answer than from the first to the second note, because the subject, which begins by the dominant,
does not proceed towards the tonic in the first
phrase this, therefore, is the answer.
there

In G.

In C.

-tJh

^^=^f^=l

:^r-

Here

follows a subject in which the melody,

proceed from the tonic
towards the dominant, but does so at the commencement of the second phrase.
in the first phrase, does not

In G.
Subject.

1^:^=:^

:P:

315

The
which ends the first phrase, belon^in<r
naturally by its descent on the dominant to the
KEY OF G, the ANSWER ought to chang-e into G, the
first note C of the subject, in order to conform to
the law of a tonal fugue, and to replace the
of
the subject by a
which will descend on C in the
key into which we shall transpose all the rest of the
subject to construct the answer.

In G.
H

=
^r-i ^'
I

:^t=

It

In C.

-^

'

^^

-^

would be superfluous

number of subjects

have explained, and a

to instance a greater
with the means which we

little

consideration, we shall
subject for a

ANSWER to any
tonal FUGUE which may be offered.

be enabled to find the

CHAP. XXXVI.
OF THE REAL OR STRICT FUGUE.

The strict or real fugue is more ancient than

It is that in which the subject
the TONAL FUGUE.
begins by the tonic, and directly proceeds to any
other chord than that of the dominant, and of which
the answer, which must be made in the fifth of
the principal key, is in all respects similar to the
subject.
Ancient composers recognized two sorts of real
FUGUE, the FREE and the limited that was called
free in which the answer, which must be in every
respect similar to the part which it imitated, was
not continued beyond the duration of the subject
;

or COUNTERSUBJECT.

316
EXAMPLE.
Subject.

SS

3^5

-^

^E
Coiintersubject.

q=

S^^3

:pt

Answer.
I

is:

Si

:p=t="?=t=P=f:
h

bI

^
Imitation of the countersubject.

73-^

f^ff--

;P_p.__(t_|^.

Subject.

r-^

-->

1*

J*

r~ ^

,,,,..,,

,,..,,

_',^r_

^s

.L

III

J_
1

^i^iLi^

r^

ii:

^^1-

-I

Ml

=Rj_
J

Answer

r-k

\
1

ir-F^

-n^

curtailed.

J^iii:

'^

317

But if the ANSWER was similar, not only to the

SUBJECT, but to all the notes of the antecedent part,
from the beginning; of the fugue to its end, the
REAL FUGUE then assumed the denomination of
LIMITED and this kind of fugue was no other than
that piece of music which we now call a canon, as
we have already said in the introduction to a former
chapter.
At present, these denominations are no lono-er
used and what the ancients call a real and free
fugue, is the only real fugue cultivated.
It may chance that the subject of a fugue
offers, in the first bars, all the characters of a real
or strict fugue, and, suddenly modulatins; towards
the close, terminates in a tonal fugue. The answer
must then follow the conditions of the subject that
is, beginning like a strict fugue, it must conclude
;

as in a

tonal fugue.

EXAMPLE.
Subject.

Tonal fugue.

Strict fugue.

^ ^r
:P

3-

_Ci_

l^F

g t:

:}M:

._Qh-

:^=fl^

-et

-I

itzzzf

Answer.

^
^

-^-

-l

-j^

-e>-

:f=Liii

318

CHAPTER XXXVII.
FUGUE OF IMITATION.

The fugue of imitation is that

ANSWER is nearly, hut not altogether,

of which the
similar to the
SUBJECT, the composer having the liberty of introducing some changes, and of curtailing it if he
thinks fit.
The FUGUE OF IMITATION lias also another privilege, which is that the consequent or answer has
neither a fixed time nor a fixed interval in which to
reply to the antecedent or subject, and we are,
therefore, at liberty to cause it to enter at the most
favorable moment, and in any interval.
Thus, the answer may be made, not only in the
unison, the FIFTH, the fourth, and the octave,
but also in the third, the sixth, the second, the
seventh, and their compounds by these means,
we produce that variety so desirable in music, and
so highly appreciated by the hearer.
have said above, that the subject of a
FUGUE ought to be of a proper length, neither too
but, in the species of fugue of
long, nor too short
which we are now treating, the subject should always
be very short, that the answer may speedily make
its appearance.
In treating the subject of a fugue of imitation, we have the power to change, into a fugue of
this name, even a tonal fugue, by replying to a
subject of the nature of this latter fugue with the
freedom of a fugue of imitation.
;

We

EXAMPLES.
Subject of a tonal fugue.

ZX

-^

:^~~*~zjz=o
Answer

as a fusrue of

aE

319

--^

M^

r>

( i

:^=?r.

jC^I -oi

imitation.

g=i=tp

-cr

-^

Subject of a tonal fugue.

-^-

:^

^-

:.^^:

-^

31e

-o^
"t:5

-Or

5Ls-

'^^^

?/

...

:^

-^._j

C^

r^

"!:

II

t
1

'

1
'

There is no fugue, whether real or tonal, but

what, in the course of it, is in several places liable
to be transformed in a fugue of imitation, because
of the modulations, and relatively to the imitations
which may be introduced by takint]^ a portion of the
SUBJECT or of the countersubjects.
shall
give examples of this when we speak of the entire
composition of a fugue.
From what we have just said, when mc have a
SUBJECT, even of a fugue of imitation, composed
of more than one member, as this

We

First

-&^

member

of the subject.

^ ^t-k-

Second member of the subject.

==1=f:

-C-t

-^-.

-63-


320

we may, in the course of the fugue, take sometimes

one, sometimes the other of these two members, in
order to form imitations, occasionally invertingthem also by contrary motion that, from the sort
of contest established between the parts by these
artifices, there may result an effect at once learned and
The following- short fugue, by Padre
aoreeable.
Martini, will serve as an example, and give an
;

idea of a fugue of imitation.

Second member of the subject.

-^

dSE-

tFirst

member

iitz:

r~

-C^l

of the subject

q==P

^=1^ &r

lo:

First

member

of the answer.

fel

Second member of the

T^

:q:

P=^ ^-i:

ncr

--^

^St:
i^iii:

:t-

-o^-

Second member of the subject in imitation.

:p=p:

jq:

Imitation in the fourth below.

X5t

-zoh-

321
Second member of the subject

f-B^

in imitation.

:^=t:

=t

XX

f=E^^i^

zzjt

Modulation into the relative minor.

&==^

=]:

1^=;^:

\-

-I

-Wi^-t^-

^
First

8^=^

member

Answer

of the subject modulating.

i^f

jt^li=:oL

in stretto.

:p

-^

"S^-- f=^ ^

^1^

Second member of the subject.

1=:

1^0~

i^

:P

Second member of the answer.

C5

The same,

modulatinf

--^-

--^prz

p=t:

:P:

The same, with modula-ei

i-

:s:

n^-j

^=^i
^:

i^tfon^

kd==t:
Second member

^^-

-O'

U-i-^

:azD:

322
Answer

the same.

1?=:^
in contrary motion.

^^==^

}^It:

i
First inemln-r of

)^-i

:p=fE
x:=t=:
Answer

Imitation in the fourth.

in stretto.

:P

)S-

-^

&.

Second member, in

:P=^:
_|E.

contrary movement.

the subject.

-^

-G^

:3EiE

-I

-^-

:^

Second member, in
direct motion.

=1=

H-

p.

It:

^
Imita-

)S-

;^=

:q==t=:
The same.
I

=]It:

:i=:1:

ZZZL

The same

tion in the octave.

3=i==r=5

--i

in the

^
-ct

^p

--^-

unison.

:p:
"r:>"

:zz^:

i::^:

323

Before we proceed to what concerns the entire

composition of a fugue, it is essential to enter into

some more circumstantial details relative to the

codetta or tail of the subject, which we have
hitherto simply indicated
and then to explain what
relates to the episodes of the fugue; and, lastly,
to the MODULATIONS which may be introduced in
the course of it.
;

CHAP. XXXVIII.

ON THE CODETTA.

The codetta is that portion of the subject

which serves to continue it after its second member,
and which at the same time prepares the ear for
the entrance of the answer, and leads to the
countersubject.

y2

324
EXAMPLE.

First

member.

Second

E^E^^1^E33
^ i=M:

:^z=q:

Countersubject.

manner.

Codetta.
|

Codetta.

member.

Eg3E*

:^:

xx

S
:t=:

v^

"Cr

it-

Cases occur in which the codetta itself may

become the commencement of the countersubject, and be so connected with the latter, that the

codetta and countew subject form but one whole,

without distinction or division.

325

mrr
Subject.

=i^

:iz=i:

-^TT-^

cr

Answer.

Codetta and countersubject united.

Codetta and countersubject united.

--|V

-^^

9..

^ ^^=^Z^t

q^

^-it^

IQ

3=!L-=et:

f^

:=t

'CT

I
::r

The tbllowino- is an example of the same kind for

four voices, by Father Angelo Predieri.

^
326

P
Subject.

:i=^

TUZH

^E
Answer.

:j

ji

,=!?:

=?=?^ :^=

Codetta and countersubject united.

II

SI

31

C'

=^=1 i

:i=i:

3=^

^w

327

m
'^^^^

-^
--^

:j=gF=#^
t=:

Codetta and countersubject united.

:t:==r

:J=^

lo:

^Ei

-^-&-

^
g

Subject.

:-S^

F=F-

Part ad libitum.

:^=^

P=^lffrp:

^^r

i^zzi:

Part ad libitum.

^=i Jtit

:=^

:^_.^iT^zj ^-^:
Answer.

:E=it:==

Codetta and countersubject combined.

^^^3:

s=

-^

/^
:tRE

328
Subject.

:^

m^
Codetta and countersubject combined

ffi;

:t-li

t^

t
-[^

'"^

i:

Part ad libitum.

-i^^-

f^;

:i:

Codetta and countersubject united.

zx

^
Answer.
-li^^

^^3^

ffi

31:

i^^^

=t^^^^

329
Codetta and countersubject united.

iip^izz:^;

:tf^

s^

^=

Codetta and countersubject united.

E3itz^:
-

^m

Subject.

at

S3^

ffi

-r

:p=

ii:

In modern fugues it is usual to proloofj; the

Codetta of the answer, before the subject reThis disposition is wise, and out^ht to be
appears.
it has the double advantage of causing
followed
us to wish for the reappearance of the subject, and
of throwing variety into the composition, by preventing the monotony which would arise from the
too near repercussions of the subject and answer
it contributes therefore to give elegance to the
conduct of a fugue, and may also furnish an addithis retional THEME for imitations and episodes
mark applies to every species of fugue, whatever
be the number of the parts.
;

330

EXAMPLE
Of a Second

SUBJECT immedkdely
the CODETTA.

attack of the

after the

ANSWKR

and witJwut

(-p /'*

rff

J_
^
\^7

Subject.

-a
7*7-5"
rr"S*)

z"

J-*

"9J

^
1

'1

*_>

Answer.

=^

^^;=^

^m

t^^^^t^^E^^^E^
iit:

\^

Subject.

Xi=^

-^-

i-

-^!^

XT

-1-

^^^^

^^=^-f^

:P

=^=^SE

^
331

EXAMPLE WITH THE CODETTA.

E
Subject.

3tz=it

^ir-^

1^

"Ct

s$rr^^=F

:i:;==3*:
Answer.

^^E^^BEt^^

1^
iS

1^=*

:Ui!:

ZiiS0^~

33^

-o^

Codetta prolonged before the re-entry of the subject.

q:
ur^--'tq#

-i-

Re-entry of the subject.

W^

m-

332
"-^

"O"

-1^*^-

1^-

-^^

^-

;^ i^

in:

i=;S:
-t^^-

-^

We

see here that the advantage is e;reatly in

favor of the second example, and that the intervention of the CODETTA between the answer and the
re-entry of the subject produces an extremely

good

effect

CHAPTER XXXIX.
ON THE EPISODES AND MODULATIONS INTRODUClBLE
INTO A FUGUE.

1.

Episodes.

The Episode or divertissement, in a Fugue, is

a period composed of fragments of the subject, or
of the countersubjects, at the choice of the composer, with which he forms imitations and other
ingenious

artificial

contrivances, and during which he

333
modulates, for the purpose of introducing in other
keys the principal subject, the answer, and the

COUNTERSUBJECTS.
The EPISODE may be long- or short, at will and
in the course of the fugue there ought to be more
than one episode, varying our choice of the means
;

use of in treating it. When we come to the

question of the entire composition of a fugue, we
shall point out the situations which these episodes,
called by the Italians andamenti, naturally occupy
and we shall shew, at the same time, the manner of
constructing them.
The short explanation which
we have here given of the episodes, will serve the
purpose for the present moment.

made

Modulation.

2.

The means which for a long period has been

used to direct us in the choice of modulations, consists in regulating ourselves according to the diatonic scale of the key in which the piece is to be
written, so as not to modulate into chords which are
foreign to this

same

scale.

According to

this rule,

we

the dominant and subdominant,

of which the modes are naturally major and into
the second, the mediant or third, and the sixth,
of which the modes are naturally minor.
cannot modulate into the seventh or leading note,

may modulate into

We

l)ecause

its

fifth

What we have

not naturally

is

perfect.

applies to the scale of the

major mode. If we desire to compose a piece in a
minor key, these are the keys into which we may
modulate into the subdominant and the dominant,
of which the modes are naturally minor; into the
mediant and the sixth, of which the modes are
cannot modulate into the senaturally major.
is
not naturally perfect we
cond, because its fifth
into the seventh.
modulating
must also avoid
said

We

Modern composers
broken through this
modulating, replacing

in

their compositions have

and rational law of

simple
it

by a manner much more

free,

334
and often crude and incoherent but if their deviafrom the beaten path be tolerated in modern
works, it is essential, and it is expressly recommended to the student, not to follow their wanderings in respect to a composition so strict as fugue.
Thus, when a fugue is in the major mode, the
key into which we oui^ht first to modulate is that
of the DOMINANT with its THIRD MAJOR we may then
modulate into the sixth, the relative mode minor
of the PRINCIPAL KEY we may afterwards modulate into the major mode of the subdominant, to
the MINOR mode of the second, and to the mediant
;

tions

minor; we may then return to the key of the

dominant, to arrive afterwards at the conclusion,
which must be made in the principal key.
In the course of a fugue in a major key, we are
allowed to chancre into minor the mode of the prinalso

but this permutation of mode can only be

few moments, and then merely to
lead to a repose or suspension on the dominant,
in order afterwards to attack the major of the
principal key.
When a fugue is in a minor key, the first modulation is into the major mode of the mediant,
which is the relative major of the principal
cipal key

employed

KEY

for a

afterwards, we modulate by turns, either to

minor MODE of the dominant, or to the major
MODE of the SIXTH, or to the minor mode of the subdominant, or the MAJOR mode of the seventh
and, lastly, from one or other of these keys, we
must return to the principal key itself to conclude.
Like the fugue in a major key, we may transform the mode of the principal key from minor
to MAJOR, under the same conditions as were explained in speaking of fugue in a major key.
;

the

Such are the laws of modulation in a regular

composition. What makes the difficulty in the art
of modulating, is the choice of chords and their
succession, so as to pass from one key to another,
in a manner at once natural and analogous to the

335
into which we desire to proceed, and that withthe ear or the tccUngs by these transishocking
out
Experience, which practice alone can give,
tions.
will smooth the difficulties which the want of both
may cause the student to meet with.

key

CHAPTER

XL.

ON THE ENTIRE COMPOSITION OF A FUGUE.

After having passed in review what concerns

the elements of a fugue, there now only remains
for us to treat of its entire composition.
have
already said that the indispensable conditions of a
fugue are the subject, the answer, the countersubject and the stretto the accessory or episodical conditions are imitations formed by "fragments of the SUBJECT, or of the countersubject,
with which we compose the different episodes or
andamenti that take place in the course of the
fugue. All these elements suffice to construct a
short or ordinary fugue. But if, in any composition
of this species, we proceed to introduce other combinations and other artifices, we shall produce an
ensemble more varied and developed. It is difficult
to determine the number of these artifices which
we may introduce into a fugue their choice, their
quantity, depend mainly on the nature of the subject and the countersubjects, and on the more or
less practised address of the composer.
There is
no fugue but what differs from every other, either
])y the manner in which it is conducted, or by its
combinations this difference and this varietj^ are
the effects of caprice, or of an imagination more
practice, the habit which it gives,
or less fertile

We

336
the experience which flows from both, by developing the imagination, guide a composer in the choice
of the ideas and the means which he ought to
employ in the contexture of a fugue.
Each composer has, as it were, his own seal in
we must therefore examine and anathis respect
lyse many fugues by the best masters, in order to
obtain sufficient confidence and experience in this
sort of composition.
shall now proceed to give ditferent examples of FUGUES in TWO, THREE, and FOUR PARTS.
These examples, strengthened by remarks, will suffice to shew how we may combine the plan of a
simple and ordinary fugue, as also that of a fugue
more extended and more complicated through the
concourse of several artifices.
;

We

EXAMPLE OF A STRICT FUGUE

'_])

^r
wA'y
vl/'

TWO

PARTS.

IN

va

Subject.

3!

:^: ^-

_c:i-

-h-

Answer

in the

=P=f=
:t=t:
dominant.

-^

-^-

r-

Codetta which unites with the countersuhject.

^: W=^

^=?

wur^z
-^'-

j=:

m^-

3:

^p:

t=

^-^

P^^

1=:^

-^i

er
'

337
:p=p:

q:

Codetta prolonged in both parts, to excite a wish for the re-entry of

the subject.

l1L_c:

ftzpc

:^P

Subject in the acute part.

zx

.ex.

r^

Countersuhject.

aiEEEE
-Ck

^
-^

t=W=^^:p=t:

^-

V)^

xz:

:t=:

H:

:f=^ ^

:t:

-:^
:t:

:tzzt=:

Countersuhject.

=1:

Answer

iu the lower part.

_Q-

^t
r

-Ci

:p=:^
:^

Vn

>

fr>
V
J

A
P

4t
#P

r>

-gep-

-C_i-

11
f

'

'

"

Episode taken from the second member of the

which modulates into the dominant at its

subject,

^44

"~

-.
F

l_

1*

in

r
1

F
1

^-^

!
1

'
1


338
-C3i-

3t=izzi=:p:
close, in order that the

began

upper part

may

Oi.

enter with the answer, siuce the fugue

in the lower part.

r-gf-fAnswer.

->r

-^-

^^^

S3^^t

-^-

-^-

X2:

Countersubject.
__4-

Jlp
I

!
:r=p

F
W^=-1-

tiz:!==^=tz

-e^-

Counter-

.Q^

-^-

:^i=3E
Subject.

^>.
*i'

t^.
1

"

r^

>

subject.

:^=]:

3:

3^=zi=3i:
Episode, composed of
a portion of the subject

Z3ZZZ!:

:ra^_f.

339
:p:

:=]:

iS
r-

and countersubject, in which modulation is introduced, and which ends

sixth, the relative minor of the principal key.

^1=^^=:^

:=\-

zx

Xa

X5

p-p^p

^:

-"r=E.

-Or

-^

-^r

^-

-^-

the

in

ii

j-^e^

-^

rKOr

-Ct-

F=^=^

-e>-

1=t=

Subject in the key of the sixth.

-C^

^r
F rom
T-tJ

!-

this place to the stretto the

fugue assumes the character

of a fugue of imitation.

:^:

:^=^
:t:

'S3Z

Countersubject.

0I

1-

I
I

-1

-Wr-

:j

!-

Answer
of

3l=it=r^
z 2

J:

t^

in the domii)nnt

minor.

340

^^

jrs

-CV

''

W'-

t-F=^^

-te

iP^^

tM^tfp:
iT-

Episode formed hj' a portion of the subject,

which, moduhiting into various keys, finishes in

-^

ffi
H

=F=|^

^=fr

[-

r^

ib=-"tthe minor

mode

C >-

of the second.

"

:P^=^

^
:ff^

4f^

t=W-

3=F

=t:

Subject in the minor

mode of the second.

SI

-^isr

^>-

-^>r

Ir

31

-o-

^^
^E^

-^-

:ix

Modulation.

s^

341
Subject in the subdominant

rx

.=

-x~i-

g x

^ -M

b-

TT

W=Ff=T^
^

tw=1^-w=^

Interruption of the subject, to introduce another episode, which

modulates and is combined with a part of the countersubject.

.->^

S.i^

o,

tf
t^

r^

r^-^

r>

r>.

:^

PI -r-f-^r- -^-^

L_ -4L-^_^

iS^f=t:

!
,

^-

'^

1-

-j--

r=^=r-

:p=3t
-h-

^
^
-4^

:=^:zzffczz

-^STRF.TTO.

at xtn^:

Conclusion of the

Repose on the

episode.

dominant.

;ti:

:ziio

Subject.

342
Answer.

-^

m-

rjt

TT^rr
j3Z

^=^:

t=^=^-

-^-

:(i=t==C:

Subject curtailed, which

becomes the consequent of
the canon.

=q=

t=^
^.

Answer

curtailed,

^^E

which serves

-^
to establish the antecedent of a very short canon.

_C^-

-^

-0_

:^=:pt

:t:

ri^/

<"x

If:

::

rr^;

hR^

A
r

VJ:

^^

Si

/^

Coda and

conclusion.

1*
1

1.

t/

r-\-i'
(i

^
1

'

^
^

.^,

^"

<-)

.^

i
^

^'^

-^

35E=Ee^

-^-

^C

IZX

Qu

343
There is no absolute necessity to employ a pause, or point of
repose, before the entry of the stretto
but when we do use it,
it is in order to give greater brilliancy and effect to its appearance,
;

by

isolating

from what precedes

and this means produces

In introducing this repose, it is not absolutely
indispensable to practise it in the previously established key of the
dominant ; it depends upon the fancy of the composer to make it,
either on this dominant, or on the pre-established relal'we minor
mode or on the dominant harmony of this same minor mode ; or on
the established minor mode of the mediant ; or, lastly, on the dominant of the principal key changed into minor ; for here, after having
prepared for it some bars beforehand, is the proper place to introduce
the minor mode in fugue.
What we have just laid down relative
to the repose in question, may be applied to every sort of fugue,
whatever may be the number of parts of which it is composed.
a very good

it

effect.

-d.

GENERAL REMARKS.

On

examining the preceding example, we shall be convinced

development of the FUGUE is entirely drawn from the
SUBJECT and COUNTERSUBJECT. This it is which forms the
unity of a piece of music of this kind.
that the

As

necessary to give occasional rests to the parts, in order

effects, we must observe that such rests ought to take
place in those parts in which the SUBJECT or ANSWER is to reappear, and just before their entrance.
When these rests are employed under other circumstances, the part which has been silent
ought never to recommence without reason, nor with a mere idle
niotivo, nor with notes merely serving to fill up
but it should
re-enter either to reply to some IMITATION already proposed,
or to propose one in its turn.
must also avoid monotony in our choice of ideas, and in
that of the design and melodial figures.
This fault is blameable in
any piece of music we shall easily fall into it in writing a FUGUE,
to

it is

vary our

We

we draw all the ideas which compose the ensemble either from
the SUBJECT or the COUNTERSUBJECTS, in order to preserve too
strongly the unity of character of which we have spoken above.
if

To avoid these faults, observe, in combining an episode, not to

employ those fragments drawn from the SUBJECT or COUNTERSUBJECT, which we have already made use of in the preceding
EPISODES. With this precaution, and by varying with address our
modulations, and the aspect of the imitations by inverting them,
we shall avoid becoming monotonous and tiresome.
Another remark which remains to be made, is, that in a FUGUE,
either STRICT or TONAL, the ANSWER is always in the FIFTH of
the TONIC, and all the imitations in the course of the FUGUE ought
to be made in the same intCKval as the ANSWER itself, or else in
the FOURTH, which is only a FIFTH inverted.

344
As to FUGUES of IMITATION, if tlie ANSWER is in the FIFTH,
or the FOURTH uf the SUBJECT, we must observe, with regard to
the iinit<itiou>--, the law which serves as a guide to STRICT and
TONAL FUGUES; but if the ANSWER be in the SECOND, THIRD,
SIXTH, or SEVENTH, aud theii" compounds, the imitations throughout the FUGUE must always be made at that same distance which
the ANSWER shall have indicated at the commencement.

We

add, that, in any FUGUE whatever, we may also practise

imitations in the UNISON or OCTAVE, at whatever degree or interval the ANSWER to the subject may originally have been made.
According to these observations, we may continue our examples
without being oblige:^, to add any thing more to what wc have
already said on the subject of FUGUE.

may

END OK

8213
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.]

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